A Quote by Alice Munro
There's a kind of tension that if I'm getting a story right I can feel right away, and I don't feel that when I try to write a novel. I kind of want a moment that's explosive, and I want everything gathered into that.
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If you ask me can you explain the success of Facebook or Twitter, its very simple. People want to have the right to speak, people want the right to say what they feel. They don't want to wait for the question to be asked, they want to say before asking the question, they want to say everything that they feel.
I'd like to ghost-write Liz Phair's novel. But I don't really know about that. It seems like a dignified thing to segue into as I approach the other side of 45. My hands are just full right now. There's the potential to try to write some kind of biography of Pavement - sort of a cryptic, nonfiction/fiction blowout. The story's never been told well. But that's a lot of inward-gazing that I'm not sure I want to do. I like to look out.
I feel like, a lot of times, when you have a specific sound that you want and are searching for, you want the right group to help you put the kind of music out that you want.
...You believe that the kind of story you want to tell might be best received by the science fiction and fantasy audience. I hope you're right, because in many ways this is the best audience in the world to write for. They're open-minded and intelligent. They want to think as well as feel, understand as well as dream. Above all, they want to be led into places that no one has ever visited before. It's a privilege to tell stories to these readers, and an honour when they applaud the tale you tell.
The ethos of 50 years ago was that there was one kind of English that was right and everything else was wrong; one kind of access that was right and everything else was inferior. Then nobody touched language for two generations. When it gradually came back in, we didn't want to go back to what we did in the 1950s. There's a new kind of ethos now.
Audiences like to be made to feel that there is a world where things go right: where big emotions can happen and yet feel safe. This is why there is a constant tension in Hollywood between studios who want happy endings and writers who want to explore the human condition. There is a time and a place for both!
I don't believe that murders can be "solved." I think that this is the big lie of the mystery novel, that you should close the book and feel that the world is back in order and everything's all right. I want the reader to know that the world is not all right, and maybe we ought to do something about it.
We all want to write the kind of book that we want to read. If you put in the things that you are thinking about and create characters who feel like they could live - at least for me, that's the way I want to write.
When you write, you want fame, fortune and personal satisfaction. You want to write what you want to write and feel it's good, and you want this to go on for hundreds of years. You're not likely ever to get all these things, and you're not likely to give up writing and commit suicide if you don't, but that is -- and should be -- your goal. Anything else is kind of piddling.
And I don't want to begin something, I don't want to write that first sentence until all the important connections in the novel are known to me. As if the story has already taken place, and it's my responsibility to put it in the right order to tell it to you.
I hate acting when I see it. I don't want to feel it, I don't want to see it, I want to be taken away with the story - I don't want the actor's ego in front of me. That's what I try to live when I do the work.
At 155, I kind of feel, when I'm fighting out there, I just don't feel like I have the right thinking ability. I kind of feel like my mind is foggy, if that makes sense. I don't really know how to describe it. Maybe it's the weight cut.
I want to do the best I can right away. There's no point for me to just kind of be relaxed about it. Of course, in each match winning is out of my control, but I want to try to do the best I can as soon as I can, and I want to have 10 successful years and not five slow ones and then five good ones.
Surely the test of a novel's characters is that you feel a strong interest in them and their affairs the good to be successful, the bad to suffer failure. Well, in John Ward, you feel no divided interest, no discriminating interest you want them all to land in hell together, and right away.
I feel the car, but I think with me and my background of dirt racing and stuff and not having pit stops, you just kind of 'All right, this is how my car is handling, I've got to figure out how to drive it' and then you get a feel of how you want it to feel.
When I'm in the studio, when I'm warm, when I'm what people call improvising, I feel a very special connection. I feel the most right. I don't want to become too mystic about this, but things feel as though they're in the best order at that particular moment.
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