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6167e05
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Music shouldn't be just a tune, it should be a touch.
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Amit Kalantri |
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1865635
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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.
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fiction-writing
how-to-write
novel-writing
observation
perception
world-view
writing-fiction
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Flannery O'Connor |
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a79aeb0
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I am often told that the model of balance for the novelist should be Dante, who divided his territory up pretty evenly between hell, purgatory, and paradise. There can be no objection to this, but also there can be no reason to assume that the result of doing it in these times will give us the balanced picture it gave in Dante's. Dante lived in the thirteenth century, when that balance was achieved by the faith of his age. We live now in an age which doubts both fact and value, which is swept this way and that by momentary convictions. Instead of reflecting a balance from the world around him, the novelist now has to achieve one from a felt balance inside himself.
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novel-writing
perception
structure
writing-craft
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Flannery O'Connor |
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a6a6e51
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And that is why novels, even when they are about wicked people, can solace us: they suggest a more comprehensible and thus more manageable human race, they give us the illusion of perspicacity and of power.
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character-building
human
illusion
novel
novel-writing
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E.M. Forster |
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90dfd1c
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"The novel is whatever novelists are doing at a given time. If we're not doing the big social novel fifteen years from now, it'll probably mean our sensibilities have changed in ways that make such work less compelling to us -- we won't stop because the market dried up. The writer leads, he doesn't follow. The dynamic lives in the writer's mind, not in the size of the audience. And if the social novel lives, but only barely, surviving in the cracks and ruts of the culture, maybe it will be taken more seriously, as an endangered spectacle. A reduced context but a more intense one [...]
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letters-of-note
novel
novel-writing
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Don DeLillo |
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76e3508
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"He had entered another imaginative world, one connected to the beginning of his life as a writer, to the Napoleonic world that had been a lifelong metaphor for the power of art, for the empire of his own creation He began to dictate notes for a new novel, "fragments of the book he imagines himself to be writing." As if he were now writing a novel of which his own altered consciousness was the dramatic center, he dictated a vision of himself as Napoleon and his own family as the Imperial Bonapartes....William and Alice he grasped with his regent hand, addressing his 'dear and most esteemed brother and sister.' To them, to whom he had granted countries, he now gave the responsibility of supervising the detailed plans he had created for 'the decoration of certain apartments, here of the Louvre and Tuileries, which you will find addressed in detail to artists and workment who take them in hand.' He was himself the 'imperial eagle.' Taking down the dictation, Theodora [his secretary] felt it to be almost more than she could bear. 'It is a heart-breaking thing to do, though, there is the extraordinary fact that his mind retain the power to frame perfectly characteristic sentences."
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creativity
death
delirium
hallucination
imagination
language
novel-writing
novelists
sentence-structure
syntax
writing
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Fred Kaplan |
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2cbe5a9
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"If Laura was so prolific with poems, and in truth she was, then what was the problem with Megan's request? Couldn't Laura, with a little doing, keep stringing together line after line of words and construct, in time, a novel? It seemed logical, but there was the matter of finding an idea and sustaining it. Only fire could do that. The fire of rebellion. Mario Vargas Llosa had not used the term "fire" exactly, but rather had discussed the presence of "seditious roots" that could "dynamite the world" the writer inhabited. He claimed that writing stories was an exercise in freedom and quarreling--out-and-out rebellion, whether or not the writer was conscious of it. And this rebellion, Vargas Llosa reminded his readers, was why the Spanish Inquisition had strictly censored works of fiction, prohibiting them for three hundred years in the American colonies."
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mario-vargas-llosa
novel-writing
writer
writing
writing-a-novel
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L.L. Barkat |