A Quote by Don Roff
There is no right or wrong way to write a novel. Each journey is different for every individual work and for every writer. The first error is never to begin; the second is never to finish.
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The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
There are two different ways of writing a novel. The first I call the traditional father way, when the novelist slightly situates himself or herself above the text and knows what each and every character is going to do. It's a bit like engineering. I've never felt close to that tradition. I like the second way, which relies a bit more on intuition.
I got better the way everyone gets better: by trial and error and error and error, by fumbling around and making mistakes but not giving up and working incredibly hard at it every day and eventually, through a painful and laborious process of eliminating every wrong turn, finding my way.
It's more like I write multiple first drafts, handwritten. So with my first novel, I wrote whole drafts from different points of view. There are different versions of that novel in a drawer on loose-leaf sheets. I won't even look at the first draft while I'm writing the second, and I won't look at the second before writing the third.
Most important of all, there is no right or wrong way to write - there's only what works for you. I was taught to write every day, but I know a writer (a bestseller at that!) who only writes on weekends.
I finish the book so I can see how it's going to end. I write that first sentence, and if it's the right first sentence, it leads to the right second sentence and three years later you have a 500-page manuscript, but it really is like going on a trip, going on a journey. It's a voyage.
[Photography] tells you that every second in time is different from every other second. You want people to understand that the image in front of them has something to do with the truth, and it can never be repeated.
Meditation is to be aware of every thought and of every feeling, never to say it is right or wrong, but just to watch it and move with it. In that watching, you begin to understand the whole movement of thought and feeling. And out of this awareness comes silence.
I have a process that I seem to always, to some degree, as a writer, adhere to, but I certainly have never imposed the way I write a novel on my students. When I had students, I never said, "You should never start writing a novel until you have the last sentence." I never did that, and I wouldn't do it now, but people now seem so interested in the process [of writing fiction] that I have to constantly make it clear when I describe mine that I'm not being prescriptive. I'm not proselytizing.
You write differently in each book. It may appear to be similar to readers, but you're a different writer in each book because you haven't approached that subject before. And every subject brings out a different prose strain in you. Fundamentally, yes, you're contained as one writer. But you have various voices. Like a good actor.
He [Thelonious Monk] played each note as though astonished by the previous one, as though every touch of his fingers on the keyboard was correcting an error and this touch in turn became an error to be corrected and so the tune never quite ended up the way it was meant to.
It's very bad to write a novel by act of will. I can do a book of nonfiction work that way - just sign the contract and do the book because, provided the topic has some meaning for me, I know I can do it. But a novel is different. A novel is more like falling in love. You don't say, 'I'm going to fall in love next Tuesday, I'm going to begin my novel.' The novel has to come to you. It has to feel just like love.
If you never look just wrong to your contemporaries you will never look just right to posterity - every writer has to try to be, to some extent, sometimes, a law unto himself.
The way you define yourself as a writer is that you write every time you have a free minute. If you didn't behave that way you would never do anything.
I am, incidentally, the only writer to have received the Somerset Maugham award twice - the first time for my first novel, the second time for my second first novel.
When I first began to write fiction, I didn't think I was a comic writer; I thought I was a serious writer. I was surprised when the first novel I wrote was regarded as a funny novel.
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