A Quote by Jami Attenberg

I've been told by people who write historical novels that you just sort of write the emotional truth first, the story at the core, and then you go back and research it at the end.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
When I write a story, I just wanna tell you what's in my head. It can come from real life and then turn into fantasy, stuff just rhyming. And write about what you know. I just like to tell stories that have not been told or [told] from my perspective.
I don't really decide what the core of the story is before I write. I write to figure out what the story is. And I think the characters end up talking to you and telling you what they want to be doing and what is important to them. So in some ways, your job is to listen as much as it is to write.
I was 12 and read my first romance novel; it was a sweeping desert saga, and I got to the end of it and was like, 'I want to go back and start all over again!' That emotional response to the book and getting to the end of a story you love is what inspires me to write the next book.
I always write the end of everything first. I always write the last chapters of my books before I write the beginning....Then I go back to the beginning. I mean, it's always nice to know where you're going is my theory.
I write what I want to write. Period. I don't write novels-for-hire using media tie-in characters, I don't write suspense novels or thrillers. I write horror. And if no one wants to buy my books, I'll just keep writing them until they do sell--and get a job at Taco Bell in the meantime.
When I write my novels I don't really have a huge plan beforehand; I don't have the whole plot and architecture, so the story is sort of discovered as I write it.
My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.
I don't write a play from beginning to end. I don't write an outline. I write scenes and moments as they occur to me. And I still write on a typewriter. It's not all in ether. It's on pages. I sequence them in a way that tends to make sense. Then I write what's missing, and that's my first draft.
I write as if I'm someone reading the book - often people ask if I write one strand first and then go back and seed in the other, but I don't think I could keep track of who knows what, and the tension would come out wrong, so the answer is no - I write it more or less in the order you read it.
If you write a book set in the past about something that happened east of the Mississippi, it's a 'historical novel.' If you write about something that took place west of the Mississippi, it's a 'Western'- and somehow regarded as a lesser work. I write historical novels about the frontier.
I write so that people will read what I write. I don't want to write a book that a thousand people read, or just privileged people read. I want to write a book whose emotional truth people can understand. For me, that's what it's about.
I still find the idea of a research-heavy or historical novel daunting. That's something I've had in mind for a while: like, would you research for a year and then start writing? I sit down, and I just don't know how to write it.
I think it's possible for anybody to write what they want to write - superheroes, historical, period drama, 'Game Of Thrones' - it's just how you chuck yourself into it that counts. And do your research.
I write and write and write, and then I edit it down to the parts that I think are amusing, or that help the storyline, or I'll write a notebook full of ideas of anecdotes or story points, and then I'll try and arrange them in a way that they would tell a semi-cohesive story.
I started writing morning pages just to keep my hand in, you know, just because I was a writer and I didn't know what else to do but write. And then one day as I was writing, a character came sort of strolling in and I realized, Oh my God, I don't have to be just a screenwriter. I can write novels.
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