A Quote by Chang-Rae Lee

One of the ready advantages of writing a road or quest story is that it mirrors the experience of writing a novel. — © Chang-Rae Lee
One of the ready advantages of writing a road or quest story is that it mirrors the experience of writing a novel.
If I'm writing a novel, I'll probably get up in the morning, do email, perhaps blog, deal with emergencies, and then be off novel-writing around 1.00pm and stop around 6.00pm. And I'll be writing in longhand, a safe distance from my computer. If I'm not writing a novel, there is no schedule, and scripts and introductions and whatnot can find themselves being written at any time and on anything.
Writing has to do with truth-telling. When you're writing, let's say, an essay for a magazine, you try to tell the truth at every moment. You do your best to quote people accurately and get everything right. Writing a novel is a break from that: freedom. When you're writing a novel, you are in charge; you can beef things up.
A short story is a sprint, a novel is a marathon. Sprinters have seconds to get from here to there and then they are finished. Marathoners have to carefully pace themselves so that they don't run out of energy (or in the case of the novelist-- ideas) because they have so far to run. To mix the metaphor, writing a short story is like having a short intense affair, whereas writing a novel is like a long rich marriage.
A man who is not born with the novel-writing gift has a troublesome time of it when he tries to build a novel. I know this from experience. He has no clear idea of his story; in fact he has no story. He merely has some people in his mind, and an incident or two, also a locality, and he trusts he can plunge those people into those incidents with interesting results.
It may sound very strange, but I love the freedom that writing a novel gives me. It is an unhindered experience. If I come after a bad day, I can decide that my protagonist will die on page 100 of my novel in a 350-page story.
The short story seems like the best of all possible worlds. I do feel it is closer to writing poetry than to writing a novel, with its requirements of concentration and economy.
Fiction writing is an act of imagination, lived experience is secondary in many ways, writing a novel really is all about inventing worlds and people.
Writing has certain advantages; film is another way to tell a story. An experienced filmmaker will take what she needs from the book and leave out other things. With adaptations, you never get the texture of the writing: it's a different mode.
Writing a story or a novel is one way of discovering sequence in experience, of stumbling upon cause and effect in the happenings of a writer's own life.
The experience of writing 'The Kite Runner' is one I will always think back on with fondness. There is an energy, a romance in writing the first novel that can never be duplicated again.
The business of writing a novel is a long, meandering road into the self, into the imagination. And it's a road the writer travels alone.
My biggest ritual is writing at home more than on the road. I do very little writing on the road. Actually, it's funny to bring this into it, but one thing I always do is have a cup of coffee. I drink the most coffee when I'm writing songs.
I started writing when I was a journalist. But every time I sat down to write a novel or a story, I ended up writing about myself, which was incredibly annoying and self-involved.
When I'm writing a novel or doing other serious writing work, I do it on a schedule that dictates writing either 2,000 words a day or writing until noon. After I hit whichever mark comes first, then I can give my attention to everything else I have to do.
For me, writing a short story is much, much harder than writing a novel.
It is very tough to make a short film. It's like writing a short story, which is tougher than writing a novel. You can't afford to faff around; you can't indulge. You have to get to the point.
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