A Quote by Emma Donoghue

I was not exploiting any real individual's story in writing ROOM, of course I was aware that my novel, by commenting on such situations, would run the risk of falling into those traps of voyeurism, sensationalism and sentimentality.
I was highly aware, in writing [the book] ROOM, that there are unsavoury aspects to our interest in such cases, and I thought it was rather honester to include discussion of media representation in the novel itself than to cling to the high moral ground by merely avoiding scenes of voyeurism, for instance.
A short story is a sprint, a novel is a marathon. Sprinters have seconds to get from here to there and then they are finished. Marathoners have to carefully pace themselves so that they don't run out of energy (or in the case of the novelist-- ideas) because they have so far to run. To mix the metaphor, writing a short story is like having a short intense affair, whereas writing a novel is like a long rich marriage.
You run the risk of falling on your face, but, again, music is an individual pursuit - it is made to please yourself first.
When work is not underpinned by social protection, people risk falling into poverty traps.
You're in good spirits when you create and produce great music. All situations inspire music in different ways, man, from good situations, bad situations, depression, falling in love, falling out of love. I've been going through all those type of things.
A man who is not born with the novel-writing gift has a troublesome time of it when he tries to build a novel. I know this from experience. He has no clear idea of his story; in fact he has no story. He merely has some people in his mind, and an incident or two, also a locality, and he trusts he can plunge those people into those incidents with interesting results.
I do object to the sensationalism or even the voyeurism of doing things in church or out of church.
What I like about fairy tales is that they highlight the emotions within a story. The situations aren't real, with falling stars and pirates. But what you do relate to is the emotions that the characters feel.
If I'm writing a novel, I'll probably get up in the morning, do email, perhaps blog, deal with emergencies, and then be off novel-writing around 1.00pm and stop around 6.00pm. And I'll be writing in longhand, a safe distance from my computer. If I'm not writing a novel, there is no schedule, and scripts and introductions and whatnot can find themselves being written at any time and on anything.
Remember that a good football novel has to have the same ingredients as any other good novel: drama, convincing and interesting characters, a strong story-line, and some kind of magic in the writing.
There's a difference between doing memoir and writing a novel. If I had put the story of the boy killing my dog - and that was Eric also, what a little monster he was! - in a novel, even if I took it directly from life, it would be fiction.
'Inherent Vice' was a novel that already existed, and in 'Steve Jobs,' I was playing a real person; in those situations, you do feel an added pressure to please.
Just as a moral distinction is drawn between "those at risk" and "those posing a risk", health education routinely draws a distinction between the harm caused by external causes out of the individual's control and that caused by oneself. Lifestyle risk discourse overturns the notion that health hazards in postindustrial society are out of the individual's control. On the contrary, the dominant theme of lifestyle risk discourse is the responsibility of the individual to avoid health risks for the sake of his or her own health as well as the greater good of society.
For a short-story writer, a story is the combination of what the writer supposed the story would likely be about - plus what actually turned up in the course of writing.
Of course you're real-like any thought or any story. It's real when you're in it.
It’s all risk. And if it isn’t, it needs to be. The real trick is to find the risk that is right for you, a risk that doesn’t take you so far out of your own identity that it’s not a you that you recognize who’s doing the writing.
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