A Quote by Amy Waldman

I wasn't sitting around years ago thinking I really want to write a novel. — © Amy Waldman
I wasn't sitting around years ago thinking I really want to write a novel.
I wasn't sitting around years ago thinking, 'I really want to write a novel.'
I really want to write a novel. A few years ago I went so far as to do the cliché thing and rent this house in upstate [New York]. I still have the story, but I got 15,000, 20,000 words in and it was like, This is falling apart. I can't figure out.
I can remember years ago sitting on my bed and suddenly thinking, "I am God."
I'd been writing fiction for 50 years, since I was 19. And when you write fiction, it becomes a way of thinking: there's always a novel around. The strange thing was that after 'Remember Me,' there wasn't.
One of my big revelations was that nobody cares whether you write your novel or not. They want you to be happy. Your parents want you to have health insurance. Your friends want you to be a good friend. But everyone’s thinking about their own problems and nobody wakes up in the morning thinking, ‘Boy, I sure hope Sam finishes that chapter and gets one step closer to his dream of being a working writer.’ Nobody does that. If you want to write, it has to come from you. If you don’t want to write, that’s great. Go do something else. That was a very liberating moment for me.
When I began to write seriously, 40 years ago now, my chosen form was the novel.
A publisher many years ago asked if I'd like to write a novel for £50. And I said, 'Absolutely.'
I think at this point I only write books about questions I really want to figure out. They're indulgences, essentially. I think, 'What would I like to spend five years really thinking about? What could I gain from thinking about for five years?'
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.
Years and years ago, I said I did not want to write academic books. I want to write books that are in the language of the common person so that Joe, who didn't even go to college, can sit down and read my book and get it and apply it to his life.
The dull people decided years and years ago, as everyone knows, that novel-writing was the lowest species of literary exertion, and that novel reading was a dangerous luxury and an utter waste of time.
I used to think that: whenever I heard that someone had taken 10 years to write a novel, I'd think it must be a big, serious book. Now I think, 'No - it took you one year to write, and nine years to sit around eating Kit Kats.
I used to think that: whenever I heard that someone had taken 10 years to write a novel, I'd think it must be a big, serious book. Now I think, 'No - it took you one year to write, and nine years to sit around eating Kit Kats.'
Israel is a fulfilled dream. Nothing that exists here existed here a hundred years ago. "The State of the Jews" was not a title of a country. It was a title of a futuristic novel. A little more than a hundred years ago, "Tel Aviv" was not a city. It was a title of another novel written by the same author. The "Return to Zion" was a name of another novel. There was a bookshelf. There was no state. There was no nation. All you can see, if you look through the window - everything you see is a fulfillment of dreams, different dreams.
The process for writing a picture book is completely different from the process of writing a chapter book or novel. For one thing, most of my picture books rhyme. Also, when I write a picture book I'm always thinking about the role the pictures will play in the telling of the story. It can take me several months to write a picture book, but it takes me several years to write a novel.
I was with George Washington at Valley Forge, sitting around before an attack... gimme a break. That's over 70 years ago already.
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