A Quote by Chang-Rae Lee

I want the flashbacks to feel that once you're there they have their own unity, their own kind of atmospheric sensibility; I want the reader to be transported. The novel is a big, complicated, unknowable thing before it's written.
I believe the most important thing you can do in any kind of novel is to make your reader want to go on with it and want to know what happens next.
I want to produce. I want to direct. I want to be my own camera man. I want my own boxing club. I have it all written down. I want to do everything.
You never want to be in a position where your reader feels like you're passing judgment on your own characters. Any novel where you feel like the author is talking to the reader over the characters' heads is in a bad place.
This patriotic revolution where people want to find their own identity are not racist but want to fight for the preservation of their own people. Their own country, their own values. Their own money. Their own borders. This is such a positive thing.
You know, you always want to just do your own thing - I mean some people want to be exactly like their parents - Ibut I wanted to do my own thing and I ended up doing a kind of mix of my mom and dad.
I feel really strongly about not wanting to overly guide the reader about what he or she should think. I really trust the reader to know for themselves and not to need too much. You have your own imagination, your own experiences, your own feelings, and a novel wants ultimately to ask questions. It doesn't assert anything, or shouldn't, I think.
It's my contention that each book creates its own structure and its own length. I've written three or four slim books. It may be that the next novel is a big one, but I don't know.
The book is finished by the reader. A good novel should invite the reader in and let the reader participate in the creative experience and bring their own life experiences to it, interpret with their own individual life experiences. Every reader gets something different from a book and every reader, in a sense, completes it in a different way.
The only thing you create music with is your own creativity and your own ears. And it takes a lot of time to develop your own ears. It's really important, before you go to the studio, to realize yourself: What do I want to hear? What do I want to create?
I feel that there is an alternate ending that leaps off too far into fantasy and there is an alternate ending that leaps off too far into pessimism, but that, in fact, the novel as it has developed should, if it's functioning correctly, have equipped you as the reader to make your own decision about where you want to go with that, about where you're going to fall on that continuum. So, the novel is taking you directly up to the point that you have to choose, and it's letting you do that.
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.
I want all my books to provoke some kind of response in the reader, to make them think something or feel something or both, and for that to become a part of them and work into their own lives.
When you're writing a novel, you don't want the reader to come out of it voting yes or no to some question. Life is more complicated than that. Reality simply consists of different points of view.
I want each poem to be ambiguous enough that its meaning can shift, depending on the reader's own frame of reference, and depending on the reader's mood. That's why negative capability matters; if the poet stops short of fully controlling each poem's meaning, the reader can make the poem his or her own.
In my own life, I've written scripts that I want to direct, so I would love to take my own creativity in a way where I could tell my own story. That does inspire me, the idea of becoming a director.
Like 'Metro' and 'Motor,' 'Troublemaker' is written in first person. The only narration that happens is Barney speaking to the reader/thinking in her head. First person was a big challenge in the graphic novel because we want both men and women of all ages to enjoy 'Troublemaker.'
This site uses cookies to ensure you get the best experience. More info...
Got it!