A Quote by Colm Toibin
Anyone who works in the arts knows, if you're writing a novel or a play or anything, you have to be ready for someone to say, 'Your time is up.'
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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 good play is a good play. If you want to chalk up your rejection letters to the fact that you're a woman, that's your choice. But often you get a rejection letter because your play isn't ready. Or the time isn't ready for your play. And that has nothing to do with gender.
Do your homework and know your business better than anyone. Otherwise, someone who knows more and works harder will kick your ass.
If you can sell yourself as someone who knows how Washington works, someone who has these relationships, that's a very marketable commodity. If you're seen as someone who knows how this town works, someone who is a usual suspect in this town, you can dine out for years - that's why no one leaves.
After I left Texas and went to California, I had a hard time getting anyone to play anything that I was writing, so I had to end up playing them myself. And that's how I ended up just being a saxophone player.
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 think what happens to young writers is that they use up every life experience that they have had up to that point for their first novel. Then you have to come up with something for the second novel, but you really don't have anything to say.
Writing a novel is like knocking on a door that will never open. You are so desperate to get in, you will say or do anything. You feel: please take my novel.
The silver friend knows your present and the gold friend knows all of your past dirt and glories. Once in a blue moon there is someone who knows it all, someone who knows and accepts you unconditionally, someone who is there for life.
If you arrive at a concert ready to play your piece, that's not nearly good enough. You must have your music ready to the point where you can play it on a short rehearsal, after a long plane flight, on a strange piano, having had an unpleasant lunch, in an unfriendly atmosphere. You have to be so over-prepared that you can cope with anything.
When you use the form of a novel, and you say 'I,' you are also saying 'I' for someone else. When you say 'you,' you are simultaneously in your room writing and in the outside world - you are seeing and being seen seeing, and this creates something slightly strange and foreign in the self.
What is a novel? I say: an invented story. At the same time a story which, though invented has the power to ring true. True to what? True to life as the reader knows life to be or, it may be, feels life to be. And I mean the adult, the grown-up reader. Such a reader has outgrown fairy tales, and we do not want the fantastic and the impossible. So I say to you that a novel must stand up to the adult tests of reality.
Say who you are, really say it in your life and in your work. Tell someone out there who is lost, someone not yet born, someone who won’t be born for 500 years. Your writing will be a record of your time. It can’t help but be that. But more importantly, if you’re honest about who you are, you’ll help that person be less lonely in their world because that person will recognise him or herself in you and that will give them hope.
I always imagined a writer was someone who lived in an attic in Paris, but my mum instilled in me a belief that I could do anything - so I ended up writing my first novel while working nights as a news reporter.
I met the guys at HeavyRoc through the drummer in St. Lucia, Nick Brown. He is Ben from The Knocks' cousin, and at the time we'd been doing some work together, but everything was still very much in the unsure developmental phase (even though I'd been in it for a year and a half). I told him that if he was going to play the music for anyone that he shouldn't say anything about it and should just play it and see if anyone says anything, and he did it one day at their studio and they loved it and got it touch.
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