A Quote by Emma Donoghue
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.
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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.
When you're adapting a novel, there are always scenes taken out of the book, and no matter which scenes they are, it's always someone's favorite. As a screenwriter, you realize, 'Well, it doesn't work if you include everyone's favorite scenes.'
I don't start with a list of historical scenes that I want to include in the book. At a certain point, the narrative totally takes over, and everything that I include I can only incorporate if it answers to the internal terms of the novel.
We have come to think of taking offence as a fundamental right. We value very little more highly than our rage, which gives us, in our opinion, the moral high ground. From there we can shoot down at our enemies and inflict heavy fatalities.
The historical background is one of the easier aspects of writing a novel. Far more difficult is dreaming up the smaller, character-based scenes, scenes that rise entirely from one's own imagination.
An e-mail from a reader says that liberals like to take the moral high ground, even though their own moral relativism means that there is no moral high ground.
The process of writing a book is infinitely more important than the book that is completed as a result of the writing, let alone the success or failure that book may have after it is written . . . the book is merely a symbol of the writing. In writing the book, I am living. I am growing. I am tapping myself. I am changing. The process is the product.
The trouble with calling a book a novel, well, it's not like I'm writing the same book all the time, but there is a continuity of my interests, so when I start writing a book, if I call it 'a novel,' it separates it from other books.
I learned to be with myself rather than avoiding myself with limiting habits; I started to be aware of my feelings more, rather than numb them.
There are fewer media writers in traditional settings. That is a beat that many legacy brands cannot afford. On the other hand technology writers are writing about media in ways they didn't before. As a consequence of the shift, there is less interest in many ways in the activities at some media. If you look at coverage of media as whole, the decision-making at the three broadcast networks and the cable channels, for instance, is much less of a focus than it once was. The guts of what goes on at Fox or CNN or MSNBC probably has less impact than it once did. It certainly gets less attention.
In all common ordinary cases, we see intuitively at first view what is out duty, what is the honest part. This is the ground of the observation, that the first thought is often the best. In these cases, doubt and deliberation is itself dishonesty; as it was in Balaam upon the second message.
I discovered ... that a novel has nothing to do with words in the first instance. Writing a novel is a cosmological matter, like the story told by Genesis (we all have to choose our role models, as Woody Allen puts it).
Each book tends to have its own identity rather than the author's. It speaks from itself rather than you. Each book is unlike the others because you are not bringing the same voice to every book. I think that keeps you alive as a writer.
When I decided to write a novel about Istanbul, I thought I should put the different faces of Istanbul into one book. I also put the characters in a cell, and it's three stories underground, rather than on the surface. The characters have one Istanbul, the other one is above ground. One is in dark, one is in light. That kind of contradiction - those opposite sides - creates a great energy in Istanbul.
I'd prefer to include sex scenes alongside the adventure scenes and everyday-life scenes, as if they were all part of the same thing. Which of course they are. Sex is not discrete from the rest of our existence.
We have no general conceptual thrust for the band, other than trying to make music that keeps our interest. When things are novel, they are probably things we have discovered by accident or investigation rather than by design
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