A Quote by Danny Orton

Life's like a novel with the end ripped out. — © Danny Orton
Life's like a novel with the end ripped out.
Life," Garp wrote, "is sadly not structured like a good old-fashioned novel. Instead an end occurs when those who are meant to peter out have petered out. All that is left is memory. But even a nihilist has memory.
I think one of the problems in determining the ending for a television series is that you don't know how long the show is gonna last. Particularly because we were in the unique position of adapting Tom's Perrotta novel The Leftovers, it always felt like the first season was gonna end with the end of Tom's novel, and then we would figure things out from there and look back.
When you go through life ... it all seems accidental at the time it is happening. Then when you get on in your 60s or 70s and look back, your life looks like a well-planned novel with a coherent theme ... Incidents that seemed accidental, pure chance, turn out to be major elements in the structuring of this novel. Schopenhauer says, 'Who wrote this novel? You did.'
You could say that this book is ripped from the headlines, but that wouldn't be fair. Bret Anthony Johnston's riveting novel picks up where the tabloids leave off, and takes us places even the best journalism can't go. Remember Me Like This is a wise, moving, and troubling novel about family and identity, and a clear-eyed inventory of loss and redemption.
I don't want my novel to be like Madame Bovary, finely crafted with the life edited out of it. I want my novel to be like a friend telling me a story -- so we go off on thoughts; that's the way it is.
If they [at the audition] don't like the way you sound they won't buy you anyway, ripped dress or no ripped dress, ass hanging out or no ass hanging out.
I don't see the direct correlation between my personal life and the novel I'm writing until I'm at the end of the novel or very close to it.
No writer, I believe, should attempt a novel before he is thirty, and not then unless he has been hopelessly and helplessly involved in life. For the writer who goes out to find material for a novel, as a fishermen goes out to sea to fish, will certainly not write a good novel. Life has to be lived thoughtlessly, unconsciously, at full tilt and for no purpose except its own sake before it becomes, eventually, good material for a novel.
The early Triassic was a period when the planet was recovering from the worst mass extinction it had ever known - that was the end Permian extinction, where climate change caused in part by mega-volcanic eruptions wiped out ninety-five percent of life on Earth. It took about ten or twenty million years for the planet's ecosystems to stabilize. During that time you saw a lot of weird, out-of-balance ecosystems where, for example, crocodile-like predators ripped the crap out of each other along the coasts.
If I can give a young author any advice, whatsoever, never let anyone announce the film sale of your first novel. Film rights are sold to almost every novel, but it shouldn't be the lead story in your first engagement with the press. Then you end up getting reviews like "a novel made for the screen" and things like that.
A novel's whole pattern is rarely apparent at the outset of writing, or even at the end; that is when the writer finds out what a novel is about, and the job becomes one of understanding and deepening or sharpening what is already written. That is finding the theme.
There comes a point when you're writing a novel when you're in it so deep that the life of the novel becomes more real to you than life itself. You have to write your way out of it; once you're there, it's too late to abandon.
War is more like a novel than it is like real life and that is its eternal fascination. It is a thing based on reality but invented, it is a dream made real, all the things that make a novel but not really life.
The point is, that the function of the novel seems to be changing; it has become an outpost of journalism; we read novels for information about areas of life we don't know - Nigeria, South Africa, the American army, a coal-mining village, coteries in Chelsea, etc. We read to find out what is going on. One novel in five hundred or a thousand has the quality a novel should have to make it a novel - the quality of philosophy.
My compositions are, I would say, like pages ripped from a diary that I don't really want to share, but that I almost feel the need to share. It's a way for me to get things out that I can't get out in life, you know, in real regular conversation with people.
The writing of a novel is taking life as it already exists, not to report it but to make an object, toward the end that the finished work might contain this life inside it and offer it to the reader. The essence will not be, of course, the same thing as the raw material; it is not even of the same family of things. The novel is something that never was before and will not be again.
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