A Quote by Daniel Quinn

Most beginning writers - and I was the same - are like chefs trying to cook great dishes that they've never tasted themselves. How can you make a great - or even an adequate - bouillabaisse if you've never had any? If you don't really understand why people read mysteries - or romances or literary novels or thrillers or whatever - then there's no way in the world you're going to write one that anyone wants to publish. This is the meaning of the well-known expression "Write what you know."
I could never write about the sort of people John Cheever or John Updike or even Margaret Atwood write about. I don't mean I couldn't write as well as they do, which of course I couldn't; they're great writers, and I'm no writer at all. But I couldn't even write badly about normal, neurotic people. I don't know that world from the inside. That's just not my orientation.
Even my colleagues don't read classic criticism. And my feeling is that if you don't do that then you're not really practicing your craft. That's how you learn how to do it. You don't learn how to write about jazz just from listening to jazz. You learn how to write by reading the great writers and how they worked, the great music critics.
What Stieg Larsson was up to - it was the Swedish guilt over World War II. All of our neighbors had the most terrible experiences with the bad forces, but Sweden didn't. I think we use the thrillers in a different way. We never write a thriller like 'Who is the murderer?' The big question in most of our thrillers is... 'Why?'
Now he would never write the things that he had saved to write until he knew enough to write them well. Well, he would not have to fail at trying to write them either. Maybe you could never write them, and that was why you put them off and delayed the starting. Well he would never know, now.
Why do I like to write short stories? Well, I certainly didn't intend to. I was going to write a novel. And still! I still come up with ideas for novels. And I even start novels. But something happens to them. They break up. I look at what I really want to do with the material, and it never turns out to be a novel.
I write what I want to write. Period. I don't write novels-for-hire using media tie-in characters, I don't write suspense novels or thrillers. I write horror. And if no one wants to buy my books, I'll just keep writing them until they do sell--and get a job at Taco Bell in the meantime.
Let me tell you one thing about why writers write: had I known the answer to any of these questions I would never have needed to write a novel.
The most important thing is you can't write what you wouldn't read for pleasure. It's a mistake to analyze the market thinking you can write whatever is hot. You can't say you're going to write romance when you don't even like it. You need to write what you would read if you expect anybody else to read it.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
All I am in private life is a literary critic and historian, that's my job...And I'm prepared to say on that basis if anyone thinks the Gospels are either legends or novels, then that person is simply showing his incompetence as a literary critic. I've read a great many novels and I know a fair amount about the legends that grew up among early people, and I know perfectly well the Gospels are not that kind of stuff.
I never had a plan, except to write. I love what I do, and have from the beginning. Loving what you do makes it a lot easier to work, every day, to face the tough spots and heel in for the long haul. Nothing against plans; they work for some people. But for me, if I'd been planning, worrying about numbers, trying to micro-manage my career, I wouldn't have focused on the writing. If you don't write, you're not read. If you're not read, you don't sell. So that's my Master Plan, I guess. Write the books, let the agent agent, the editor edit, the publisher publish.
The good stories, of course, write themselves. And somebody wants to know who are the really good writers, and how many of them there are. There aren't any. Most of the writers are likeable frauds. Some are unlikable frauds.
Most new writers think it's easy to write for children, but it's not. You have to get in a beginning, middle and end, tell a great story, write well, not be condescending-all in a few pages.
Write what you want to read. So many people think they need to write a particular kind of book, or imitate a successful style, in order to be published. I've known people who felt they had to model their book on existing blockbusters, or write in a genre that's supposed to be "hot right now" in order to get agents and publishers interested. But if you're writing in a genre you don't like, or modeling yourself on a book you don't respect, it'll show through. You're your first, most important reader, so write the book that reader really wants to read.
Most writers need to write. I write for money, really. If I won the lottery, I would never write another word. I would rather read.
I don't have a whole bunch of literary connections. I don't write reviews or attend writer's conferences. I'm kind of shy and don't want to go to a party. I just want to stay home and read my murder mysteries and try to write and cook dinner.
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