A Quote by Cynthia Ozick
I am proudest of that first novel, 'Trust,' of anything I have written. I don't think I've had such intense energy since.
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When I was writing my first novel, 'Elizabeth is Missing,' I was writing the only novel I had ever written and writing about the only protagonist I'd ever written about. Because of this, I didn't think of her as a construct. Maud was real.
A novel, especially a first novel, is... really an emotional autobiography. All these emotions I'm embarrassed at having had, I've written about.
Anyway, why would you trust anything written down? She certainly didn't trust "Mothers of Borogravia!" and that was from the government. And if you couldn't trust the government, who could you trust? Very nearly everyone, come to think of it.
I wrote 'Don't Look Back' in November 2011, and when I wrote the novel, it wasn't contracted, so there was a freedom in that - no expectations or anything like that. It was also my first contemporary novel I'd written and sold, which was to Disney/Hyperion in January of 2012.
I have never started a novel - I mean except the first, when I was starting a novel just to start a novel - I've never written one without rereading Victory. It opens up the possibilities of a novel. It makes it seem worth doing.
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.
Just about everybody has written a first novel that they throw away before writing their actual first novel.
I don't think I would have written a combat novel if I had just had peacetime military training. I think, in fact, I probably would have remained a poet and just written a short story every now and then.
• Eating disorders are addictions. You become addicted to a number of their effects. The two most basic and important: the pure adrenaline that kicks in when you're starving—you're high as a kite, sleepless, full of a frenetic, unstable energy—and the heightened intensity of experience that eating disorders initially induce. At first, everything tastes and smells intense, tactile experience is intense, your own drive and energy themselves are intense and focused. Your sense of power is very, very intense. You are not aware, however, that you are quickly becoming addicted.
Three years after my first trip to Haiti, I realized there was another emotional note that had to be reckoned with: the intense, vibrant color of these worlds. Searing light and intense color seemed somehow embedded in the cultures that I had begun working in, so utterly different from the gray-brown reticence of my New England background. Since then, I have worked predominantly in color.
In the case of my second film The Fish Child (El Niño Pez), I had written the novel about 5 years before I made into a film. In the case of The German Doctor I had published the novel a year before I started writing the script, I even had another project to shoot. But I had this idea of the powerful cinematic language from the novel that I couldn't let go of.
At thirty-five, having spent over twenty years running varied businesses for my family, I decided to sit down and write my first novel. I had never written anything longer than a couple of pages till then and was foolishly attempting to write a hundred-thousand words.
I had written a book. For various reasons, the publishing industry had decided that my book was going to be 'important.' The novel had taken me 12-and-a-half years to write, and after being with the book for so long, I had no real perspective on the merits or demerits of what I had written. I hoped it was good, but feared that it wasn't.
By the time I was doing "Kill Bill," it was so much filled with prose that, you know, I start seeing why people write a screenplay and make it more like a blueprint, because basically I had written - in "Kill Bill," I had basically written a novel, and basically every day I was adapting my novel to the screen on the fly, you know, on my feet.
The short story that eventually grew into Constellation was the first fiction set in Russia that I'd ever written, and that was right around the time I was giving up on a doomed, never-to-be-seen first novel. While I saw it could be something bigger, in hindsight fortuitous timing was as responsible as anything.
I am the suburb of a non-existent town, the prolix commentary on a book never written. I am nobody, nobody. I am a character in a novel which remains to be written, and I float, aerial, scattered without ever having been, among the dreams of a creature who did not know how to finish me off.
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