A Quote by Charles Stross
Speech recognition is utterly crap for writing fiction. If you try reading a novel aloud you'll soon figure out why - written prose style is utterly unlike the spoken word.
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At the beginning of writing fiction, too much of the newspaper style was getting into the prose, so I thought, 'Gee, I should try writing longhand. Maybe I can tap something that goes back to the point before I could type.'
Speech and prose are not the same thing. They have different wave-lengths, for speech moves at the speed of light, where prose moves at the speed of the alphabet, and must be consecutive and grammatical and word-perfect. Prose cannot gesticulate. Speech can sometimes do nothing more.
No poet will ever take the written word as a substitute for the spoken word; he knows that it is on the spoken word, and the spoken word only, that his art is founded.
Actually, the true story of a person's life can never be written. It is beyond the power of literature. The full tale of any life would be both utterly boring and utterly unbelievable.
Writing isn't just a job that stops at six thirty... It's a mad, sexy, sad, scary, ruthless, joyful, and utterly, utterly personal thing. There's not the writer and then me; there's just me. All of my life connects to the writing. All of it.
It's utterly hypocritical for Israelis to wonder aloud why Palestinians don't pursue a non-violent strategy. One obvious reason is that, whenever they have, Israel brutally represses it.
In high school, in 1956, at the age of sixteen, we were not taught "creative writing." We were taught literature and grammar. So no one ever told me I couldn't write both prose and poetry, and I started out writing all the things I still write: poetry, prose fiction - which took me longer to get published - and non-fiction prose.
Prose-it might be speculated-is discourse; poetry ellipsis. Prose is spoken aloud; poetry overheard.
I found reading Alan Bennett striking because you have this sudden flash of recognition when you read about a boy who has intellectual interests utterly different from his parents.
If I looked at some of these pieces as if this project was not spoken-word but just short anthology, I probably would have fussed with some of the sentences, you know? Syllabication and prosody and such crap. Because the printed word is etched in stone. But for reading purposes I accepted this book of texts in the manner in which I wrote them, no need to fuss. Most of the shorter stuff was written as poetry. Meaning lots of white space on the page.
Probably the best way to describe my writing style is to refer you to "purple prose", which was a tag given to the early mass market magazine writers earning a half cent a word for their fiction. They had to use every adjective, verb and adverb in the English language to add word count to stories in order to feed and support families.
Photographs have the kind of authority over imagination to-day, which the printed word had yesterday, and the spoken word before that. They seem utterly real. They come, we imagine, directly to us without human meddling, and they are the most effortless food for the mind conceivable.
The Sugar Frosted Nutsack is fantastic. It's volcanic and sexy and utterly unlike anything I've read before. It feels like the future in a dazzling way that has nothing to do with looking backward. It's been a long wait for a new novel from Mark Leyner, but worth it. Ten out of ten from me.
The Da Vinci Code may well be the only novel ever written that begins with the word 'renowned'... I think what enabled the first word to tip me off that I was about to spend a number of hours in the company of one of the worst prose stylists in the history of literature was this. Putting curriculum vitae details into complex modifiers on proper names or definite descriptions is what you do in journalistic stories about deaths; you just don't do it in describing an event in a narrative... Why did I keep reading? Because London Heathrow is a long way from San Francisco International.
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