novelist

I think the writer is initially set going by literature more than by life. When there are many writers all employing the same idiom, all looking out on more or less the same social scene, the individual writer will have to be more than ever careful that he isn't just doing badly what has already been done to completion. The presence alone of Faulkner in our midst makes a great difference in what the writer can and cannot permit himself to do. Nobody wants his mule and wagon stalled on the same track the Dixie Limited is roaring down.

I am, as it were, the created creating__ paradox, for all its rhetorical trappings, at the beating heart of our shared human journey, and one I invite you to struggle with just as I have while, day in and day out, word by word and line by line, constructing a fictitious autobiography for myself in these pages.

Bringing a novel to light - revealing the form and cadence, shadows and demeanor of a protagonist constructed from thin air - linking scenes and synchronicity across translucent time - holding up a glass brimming with chilled, never-tasted liquid, then sipping from it with intoxicated focus - allowing lovers to make a perilous mess of things, fall apart and nakedly come back together again - looking through conjured windows deep into someone else__ snow-bound solitude, feeling utterly alone yet being all-connected: this is not writing. It__ world-creating.It__ raw, exposed dreaming. It__ humbling. At first too personal and intimate to share, it evolves like a child into a life of its own until I have no say in what comes next. It__ what I wake at 4am to say Yes to, the spinning possibility of a new story relentlessly commanding me to write it down so it can whirl in your experience.

As a novelist it is my job to tell stories that inspire and entertain but I am increasingly mindful that many of these historical tales (which of themselves are fascinating) relate directly to our issues in society today.

I was asked the other day in which era I would choose to live. As a historical novelist, it comes up sometimes. As a woman I'd have to say I'd like to live in the future - I want to see where these centuries of change are leading us.

It is not so much as to say that something has occured; but to describe the very essence of the occurance. One must take hold of his readers and pull them into his world...the world that he has penned, with the utmost care and attentiveness. And then, when the readers are fully submerged in this magnificently crafted place of wonder; they will see, and touch, and smell, and feel all the elements of the author's imagination.

The Adventure called and I followed with my thumb like a character being written by an intractable author. Which, of course, I was.

People make interesting assumptions about the profession. The writer is a mysterious figure, wandering lonely as a cloud, fired by inspiration, or perhaps a cocktail or two.

Fiction is overrated, Fly. We__e discussed this. In the time it takes those novelist fuckers to contemplate a few poetic passages, a thousand kids die from malnutrition. Immediacy, man, that__ what counts.

How astonishingly intimate the business of fiction is, more intimate than anything that issues from the psychiatrist__ couch or even the lovers_ bed. You see the soul, pinned and wriggling on the wall.

I'll call any length of fiction a story, whether it be a novel or a shorter piece, and I'll call anything a story in which specific characters and events influence each other to form a meaningful narrative. I find that most people know what a story is until they sit down to write one. Then they find themselves writing a sketch with an essay woven through it, or an essay with a sketch woven through it, or an editorial with a character in it, or a case history with a moral, or some other mongrel thing. When they realize that they aren't writing stories, they decide that the remedy for this is to learn something that they refer to as "the technique of the short story" or "the technique of the novel." Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.

The novel should tell the truth, as I see the truth, or as the novelist persuades me to see it. And one more demand: I expect the novelist to aspire to improve the world. ... As a novelist, I want to be more than one more dog barking at the other dogs barking at me. Not out of any foolish hope that one novelist, or all virtuous novelists in chorus, can make much of a difference for good, except in the long run, but out of the need to prevent the human world from relaxing into something worse. To maintain the tension between truth and falsity, beauty and ugliness, good and evil. ... I believe the highest duty of the serious novelist is, whatever the means or technique, to be a critic of his society, to hold society to its own ideals, or if these ideals are unworthy, to suggest better ideals.

I'm a novelist by trade and my job is to write a story rather than reconstruct actual events.

I think that at the bottom of all art lies the impulse to preserve.

In the very end, all we have left to atone for our faults are words.

I ran across an excerpt today (in English translation) of some dialogue/narration from the modern popular writer, Paulo Coelho in his book: Aleph.(Note: bracketed text is mine.)... 'I spoke to three scholars,' [the character says 'at last.'] ...two of them said that, after death, the [sic (misprint, fault of the publisher)] just go to Paradise. The third one, though, told me to consult some verses from the Koran. [end quote]' ...I can see that he's excited. [narrator]' ...Now I have many positive things to say about Coelho: He is respectable, inspiring as a man, a truth-seeker, and an appealing writer; but one should hesitate to call him a 'literary' writer based on this quote. A 'literary' author knows that a character's excitement should be 'shown' in his or her dialogue and not in the narrator's commentary on it. Advice for Coelho: Remove the 'I can see that he's excited' sentence and show his excitement in the phrasing of his quote.(Now, in defense of Coelho, I am firmly of the opinion, having myself written plenty of prose that is flawed, that a novelist should be forgiven for slipping here and there.)Lastly, it appears that a belief in reincarnation is of great interest to Mr. Coelho ... Just think! He is a man who has achieved, (as Leonard Cohen would call it), 'a remote human possibility.' He has won lots of fame and tons of money. And yet, how his preoccupation with reincarnation__one other than an interest in being born again as somebody else__uggests that he is not happy!

A poetess is not as selfishas you assume.After months of agonising over her marriage of words__he bride__nd spaces__he groom,she knows that as soonas she has penned the poem,it__ yours to consume.So, without giving it a think,she blows on the inkand the letters fly awaylike dandelions on a windy day,landing on hands and lips, on hearts and hips.But more often than not,you can easily spotthem trodden and forgotten,becoming sodden and rotten.Yet, she will continue to makewhat__ others to takebecause selfishness is not the mark of a poetess.

Moonrise is a fabulous novel and my damn wife wrote it and that__ me up there near Highlands shouting it out to the hills.