A Quote by Debbie Macomber

First and foremost, I consider myself a storyteller. And I'm endlessly fascinated with people, with what they do and why... and how they feel about it. Which means I'm interested in romance fiction. I was drawn to it, as both a reader and a writer, at the very beginning of my career. It's my kind of storytelling.
I am drawn, as a reader, to detail-drenched stories about human lives affected as much by the internal as by the external, the kind of fiction that Jane Smiley nicely describes as 'first and foremost about how individuals fit, or don't fit, into their social worlds.'
Fiction is about human beings, first and foremost. (It's not impossible to write fiction with no human protagonists, but it's very hard to keep the reader interested ...)
From early on there were two things that filled my life - music and storytelling, both of them provoked by my father. He was a jazz pianist and also a very good storyteller, an avid reader. He passed both those interests on to me.
Evidently, there are many great American writers. But sometimes it can feel as though American fiction is dominated by relatively linear narrative form, with a heavy emphasis on psychological realism. If you limit yourself to a certain kind of American literary fiction, it's easy to forget about the different kinds of books that are being written. You can forget to be ambitious, both as a reader and a writer.
There's a horrible stereotype of both the romance writer and the romance reader as somehow undereducated and unprofessional, when in fact there are a number of incredibly well-educated professional women who have chosen to leave their other careers and go into writing romance.
First and foremost, Scotland is my home, and I do consider myself Scottish, but I also feel very British, and I hope that Scotland stays within the Union. I have a real concern about independence.
I find it only natural for a storyteller to be interested in storytelling and, for anyone who spends the better part of his or her life writing fiction, it is hardly surprising that the pleasures, worries, and mechanics of fiction-making should enter the work.
I consider myself to be first and foremost a comic writer. The way I entertain myself - especially in those long and grim hours in the office - is to write stuff I find funny.
I don't ever think about the utility of fiction. I don't believe in it or certainly don't require anybody to consider it. A novel or short story might be useful to a reader in all kinds of ways, many of which no writer would ever foresee, which is a good thing.
Saul Bellow once said, 'A writer is a reader who has moved to emulation' โ€” which I think is true. I just started writing and made that jump from reader to writer and learned how hard it was, but also how much fun it was โ€” losing myself in these imaginary worlds.
I tend to think that the onus is on the writer to engage the reader, that the reader should not be expected to need the writer, that the writer has to prove it. All that stuff might add up to a kind of fun in the work. I like things that are about interesting subjects, which sounds self-evident.
The best thing about writing fiction is that moment where the story catches fire and comes to life on the page, and suddenly it all makes sense and you know what it's about and why you're doing it and what these people are saying and doing, and you get to feel like both the creator and the audience. Everything is suddenly both obvious and surprising ("but of course that's why he was doing that, and that means that...") and it's magic and wonderful and strange.
I get intrigued by a first lin and I write to find out why it means something to me. You make discoveries just the way the reader does, so you're simultaneously the writer and the reader.
I have always been fascinated with romance and the fact that it is so effortless when we first fall in love but how it then becomes a conscious effort to stay creative and connected. Thats why I always say, 'Get wise: keep your romance alive.'
On a very small scale, I kind of understand why the directors that I work with do certain things. I don't consider myself an incredible director. I'm not ready to do movies by any means. But, I feel like I can be a better actress now that I've been on the other side and kind of understand the process and more of the technical aspects of it.
Most fiction series are written so that the reader can come in at any point and not feel lost, but if you can start at the beginning, why not?
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