A Quote by Ben Lerner

I wasn't aware I'd write the novel when I wrote the New Yorker story either. And the narration of their construction in 10:04 is fiction, however flickering. — © Ben Lerner
I wasn't aware I'd write the novel when I wrote the New Yorker story either. And the narration of their construction in 10:04 is fiction, however flickering.
I'm aware of narrating certain experiences as they happen or obliterating those experiences with narrative and then those stories - not the experiences themselves - might become material for art. This kind of transformation shows up a lot in 10:04 because the book tracks the transposition of fact into fiction in the New Yorker stor
I wanted to be a literary writer, so I wrote story after story and sent them to 'The New Yorker.'
I couldn't sit down and write a novel or a short story - even now - because of my dyslexia. But I learned narration through movies.
Part of my problem as a young writer was that I was too much a New Yorker, always second-guessing the 'market.' I became so discouraged that I decided to write something that would please me alone - that became my sole criterion. And that was when I wrote 'Forgetting Elena,' the first novel I got published.
Another example of what I have to put up with from him. But there was a time I was mad at all my straight friends when AIDS was at its worst. I particularly hated the New Yorker, where Calvin [Trillin] has published so much of his work. The New Yorker was the worst because they barely ever wrote about AIDS. I used to take out on Calvin my real hatred for the New Yorker.
William Maxwell's my favorite North American writer, I think. And an Irish writer who used to write for 'The New Yorker' called Maeve Brennan, and Mary Lavin, another Irish writer. There were a lot of writers that I found in 'The New Yorker' in the Fifties who wrote about the same type of material I did - about emotions and places.
'The New Yorker's fiction podcast I like a lot, where they have authors pick short stories by other authors that appeared in 'The New Yorker.'
When I first began to write fiction, I didn't think I was a comic writer; I thought I was a serious writer. I was surprised when the first novel I wrote was regarded as a funny novel.
I've been writing for a long time, since the late '60s. But it hasn't been in the same form. I used to write scripts for television. I wrote for my comedy act. Then I wrote screenplays, and then I started writing New Yorker essays, and then I started writing plays. I didn't start writing prose, really, until the New Yorker essays, but they were comic. I didn't start writing prose, really, until the '90s. In my head, there was a link between everything. One thing led to another.
Newt Gingrich wrote a novel, and he's a short story. Bill Clinton wrote a biography, and he's a novel.
I wrote a story for my kids. It's fiction. It's not systematic theology. It's not a new book of the Bible. It's flawed, I wrote it. All of that goes into the mix, but I love the controversy. It elevates the conversation.
I did try to write fiction. I wrote 10 novels. And they were all just awful.
I think a good story can do as much as a novel; not the exact same thing, of course, but just as much artistically. They're different beasts, but to tackle an expansive country like the United States, you're either going to write a big novel, or go in to various points on the map and write stories or poems.
The desire for narration keeps on reasserting itself, so that since modernism and fiction brought narration to an end, it is sought in memoirs.
Whenever I wrote fiction, people always seemed to think that what I wrote was true, that it was entirely autobiographical. And when I would write non-fiction, they often accused me of exaggeration and fictionalization.
My fifth-grade teacher, Mrs. Poppy, had us each write a 'novel,' whatever that meant to us. It must have been 10 pages long, and we bound it and colored the front. And she wrote on mine, 'I can't wait till your real novel comes out. Give me a call.'
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