Site uses cookies to provide basic functionality.

OK
1 ▲ ▼
Link Quote Stars Tags Author
0e983cb J.R.R.Tolkien has confessed that about a third of the way through The Fellowship of the Ring, some ruffian named Strider confronted the hobbits in an inn, and Tolkien was in despair. He didn't know who Strider was, where the book was going, or what to write next. Strider turns out to be no lesser person than Aragorn, the unrecognized and uncrowned king of all the forces of good, whose restoration to rule is, along with the destruction of the evil ring, the engine that moves the plot of the whole massive trilogy, The Lord of the Rings. tolkien motivation strider character-building writing-books plot fiction-writing lord-of-the-rings Ansen Dibell
cca01cc Fantasy remains a human right: we make in our measure and in our derivative mode, because we are made: and not only made, but made in the image and likeness of a Maker. fantasy j-r-r-tolkien fiction-writing J.R.R. Tolkien
ece1b9a You can not describe anything without betraying your point of view, your aspirations, your fears, your hopes. Everything. james-baldwin fiction-writing quotes James Baldwin
79cec82 Grayson: Fiction is just a lie anyway. Brianna: But it's not - it's a different kind of truth - it would be your truth at the time of the writing, wouldn't it? fiction writing author-quotes fictional fictional-truth authors fiction-writing Nora Roberts
175d669 Personally I like the English style better. It is not quite so brittle, and the people as a rule, just wear clothes and drink drinks. There is more sense of background, as if Cheesecake Manor really existed all around and not just the part the camera sees; there are more long walks over the Downs and the characters don't all try to behave as if they had just been tested by MGM. The English may not always be the best writers in the world, but they are incomparably the best dull writers. murder-mysteries fiction-writing Raymond Chandler
1b9fc85 "The viewpoint character in each story is usually someone trapped in a living nightmare, but this doesn't guarantee that we and the protagonist are at one. In fact Woolrich often makes us pull away from the person at the center of the storm, splitting our reaction in two, stripping his protagonist of moral authority, denying us the luxury of unequivocal identification, drawing characters so psychologically warped and sometimes so despicable that a part of us wants to see them suffer. Woolrich also denies us the luxury of total disidentification with all sorts of sociopaths, especially those who wear badges. His Noir Cop tales are crammed with acts of police sadism, casually committed or at least endorsed by the detective protagonist. These monstrosities are explicitly condemned almost never and the moral outrage we feel has no internal support in the stories except the objective horror of what is shown, so that one might almost believe that a part of Woolrich wants us to enjoy the spectacles. If so, it's yet another instance of how his most powerful novels and stories are divided against themselves so as to evoke in us a divided response that mirrors his own self-division. ("Introduction")" writer writing short-fiction fiction-writing cornell-woolrich crime-fiction noir noir-fiction writers Francis M. Nevins
c0fd80c You may ask, why not simply call this literature Christian? Unfortunately, the word Christian is no longer reliable. It has come to mean anyone with a golden heart. And a golden heart would be a positive interference in the writing of fiction. fiction christian-literature fiction-writing Flannery O'Connor
1865635 The fiction writer is an observer, first, last, and always, but he cannot be an adequate observer unless he is free from uncertainty about what he sees. Those who have no absolute values cannot let the relative remain merely relative; they are always raising it to the level of the absolute. The Catholic fiction writer is entirely free to observe. He feels no call to take on the duties of God or to create a new universe. He feels perfectly free to look at the one we already have and to show exactly what he sees. how-to-write writing-fiction observation fiction-writing novel-writing perception world-view Flannery O'Connor
de5a5d9 Unfortunately, to try to disconnect faith from vision is to do violence to the whole personality, and the whole personality participates in the act of writing. The tensions of being a Catholic novelist are probably never balanced for the writer until the Church becomes so much a part of his personality that he can forget about her--in the same sense that when he writes, he forgets about himself. writing faith christian-writers writing-fiction fiction-writing Flannery O'Connor
0add7f9 It is generally supposed, and not least by Catholics, that the Catholic who writes fiction is out to use fiction to prove the truth of the Faith, or at the least, to prove the existence of the supernatural. He may be. No one certainly can be sure of his low motives except as they suggest themselves in his finished work, but when the finished work suggests that pertinent actions have been fraudulently manipulated or overlooked or smothered, whatever purposes the writer started out with have already been defeated. What the fiction writer will discover, if he discovers anything at all, is that he himself cannot move or mold reality in the interests of an abstract truth. The writer learns, perhaps more quickly than the reader, to be humble in the face of what-is. What-is is all he has to do with; the concrete is his medium; and he will realize eventually that fiction can transcend its limitations only by staying within them. fiction writing writing-fiction fiction-writing Flannery O'Connor
c439d48 "Perhaps this is what Henry James meant when he talked about the "irresponsibility" of characters. Characters are irresponsible, art is irresponsible when compared to life, because it is first and foremost important that a character be real, and as readers or watchers we tend to applaud any effort made towards the construction of that reality. We do not, of course, indulge actual people in the world this way at all. In real life, the fact that something seems real to someone is not enough to interest us, or to convince us that that reality is interesting. But the self-reality of fictional characters is deeply engrossing, which is why villains are lovable in literature in ways that they are not in life." morality life fiction-writing James Wood
15b4e54 "That was enough dialogue for a few pages - he had to get into some fast, red-hot action. writing fiction-writing pulp-fiction pulp writers Cornell Woolrich
1 ▲ ▼