There has always been "occupational anamorphosis", because work inexorably affects the body's stature and structure. The metamorphosis of worker's bodies, from blacksmith and mason to teamster and tailor, from farmer and miner to soldier and tradesman, demarcates more than distinctive professions. This morphogenetic evolution also represents the archetype of each discipline.
The idiomorph of a "writer", whether scribe or author, can be readily identified by his abstracted and disarrayed comportment, by his stained and callused fingers, by his gnarly elbows and humped back, by his haggard face and baggy eyes, by his slouched shoulders and splayed gait, by his consumptive complexion and anaerobic breath, by his flaccid prospects and tumescent ego, by his rent hair and squat endomorphism.
Given this unappealing morphology of a typical writer, perhaps it is best that he be known principally through the body of his morphemic and morphosyntactic compositions. There are only so many disillusionments that readers can endure before succumbing to stupefied withdrawal or fantasied escapism.