A Quote by Ethan Canin

A novel, at least for me, cannot be visualized at one time. — © Ethan Canin
A novel, at least for me, cannot be visualized at one time.
I always had a passion for writing, but I always visualized other artist singing my lyrics, I never visualized myself.
If you cannot be merciful, at least speak as though you are a sinner. If you are not a peacemaker, at least do not be a troublemaker. If you cannot be assiduous, at least in your thought be like a sluggard. If you are not victorious, do not exalt yourself over the vanquished. If you cannot close the mouth of a man who disparages his companion, at least refrain from joining him in this.- St. Isaac the Syrian
Writing is a particular kind of frustration, which is why when I was making the structure for the novel I visualized it for myself with a color-coded board so I could see it.
In my brief writing life, it means I am still lucky that I have at least one more novel to complete. I do not expect that a story will arrive just because it is time to write another novel. It doesn't happen that way.
In this drawing we just let our imagination run wild. We visualized Superman toys, games, and a radio show - that was before TV - and Superman movies. We even visualized Superman billboards. And it's all come true.
Every time that I write a novel I am convinced for at least two years that it is the last one, because a novel is like a child. It takes two years after its birth. You have to take care of it. It starts walking, and then speaking.
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.
I've always believed that poetry must speak of realities as least as complicated as those spoken of in prose. I've read books of poems, even single poems, which are, for me, at least the equivalent of a short story or a novel. Martin Amis, in an interview with Saul Bellow in the early eighties, quotes Bellow asking, "Why not address 'the mysterious circumstance of being', say what it's like to be alive at this time, on this planet?" This has been and still is my ambition.
I've always been a fan of the 19th century novel, of the novel that is plotted, character-driven, and where the passage of time is almost as central to the novel as a major minor character, the passage of time and its effect on the characters in the story.
Fiction -- at least for me -- requires long, relatively uninterrupted time stretches in which to bring it to fruition. I've never been a two-hour-in-the-morning writer, who could put in another six hours on Sunday afternoon. For me, a novel requires weeks of living in a largely mental and wholly internal landscape. Everything else has to be relegated to the odd hour here, the bit of time there. Sadly, however, uninterrupted time blocks are not what life doles out today to any of us with regularity.
I'm not sure that it's possible to write a novel about people who don't transgress or stumble, people who don't surprise themselves with the things they do, people who can explain all their actions with perfect logical consistency. At least it's not possible for me to write that sort of novel.
The contemporary memoir is playing an important role in at least just bringing certain relationships out into the open in American society, and also it's a place where the novel of development, the novel of consciousness, has gone.
Now, my novel begins. No, now I begin my novel—and yet I cannot decide whether to call myself I or she.
You're getting everyone's point of view at the same time, which, for me, is the perfect state for a novel: a cubist state, the cubist novel.
You're getting everyone's point of view at the same time, which for me, is the perfect state for a novel: a cubist state, the cubist novel.
My pictures are never pre-visualized or planned. I feel strongly that pictures must come from contact with things at the time and place of taking. At such times, I rely on intuitive, perceptual responses to guide me, using reason only after the final print is made to accept or reject the results of my work.
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