A Quote by Zane Grey

Every once in a while I feel the tremendous force of the novel. But it does not stay with me. — © Zane Grey
Every once in a while I feel the tremendous force of the novel. But it does not stay with me.
When you write your first novel you don't really know what you're doing. There may be writers out there who are brilliant, incisive and in control from their first 'Once upon a time'. I'm not one of them. Every once upon a time for me is another experience of white-water rafting in a leaky inner tube. And I have this theory that while the Story Council has its faults, it does have some idea that if books are going to get written, authors have to be able to write them.
Every once in a while I go off to do a movie or a television series and I take my art with me. I can stay in character when I paint.
Characters to me are like sonnets, they have limits that you obey which allow a force to enter in, an invention that makes the novel possible. Change the limits and the force leaves. The novel becomes impossible.
I have bullshit moments every once in a while - like every actor does.
Every once in a while, a book so possesses me that I happily give up a couple of consecutive nights of sleep - as well as the evening news broadcasts and latenight talk shows - to finish it. That's what happened when I opened the novel 'Shadow Tag' by Louise Erdrich.
The ambition of 'Ten Thousand Saints,' Eleanor Henderson's debut novel about a group of unambitious lost souls, is beautiful. In nearly 400 pages, Henderson does not hold back once: she writes the hell out of every moment, every scene, every perspective, every fleeting impression, every impulse and desire and bit of emotional detritus.
I didn't feel the need for anonymous affection, for people in the dark applauding. To me, it would be like writing a novel and then getting up every night and reading your novel.
I don't feel uncomfortable in America, but every once in a while, I'm reminded that people don't see me the way I see me. It doesn't change my life, but it gives me a consciousness about it.
Once in a while - perhaps every 10 years, or even every generation - a novel appears that profoundly questions the way we look at the world, and at ourselves. Beijing Coma is a poetic examination not just of a country at a defining moment in its history, but of the universal right to remember and to hope. It is, in every sense, a landmark work of fiction
Once in a while, I played second base; once in a while, outfield. But those were just pickup games and softball leagues. So when I bought the Yankees, I tried to stay one pace ahead of the players.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
The libertarian approach is a very symmetrical one: the non-aggression principle does not rule out force, but only the initiation of force. In other words, you are permitted to use force only in response to some else's use of force. If they do not use force you may not use force yourself. There is a symmetry here: force for force, but no force if no force was used.
I think art, the discipline of creating, really does require tremendous solitude. But the whole creative process can seal your life to such an extent that while you're creating, you feel very self-sufficient. I've certainly experienced that.
We just got our ass beat by a much better team. It happens once in a while. Does every team win every game?
Anytime that people feel that you accomplished enough to enter into a Hall of Fame, of course this is a tremendous, tremendous thrill for me.
Sometimes people can see a movie of mine and not know until the credits roll that I wrote the score. That makes me feel good, that I can get out of that box every once in a while.
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