A Quote by Frederick Busch

When I am writing a novel I try not to read great prose stylists into which I will fall. — © Frederick Busch
When I am writing a novel I try not to read great prose stylists into which I will fall.
I'm often a little perplexed, when I read a review of a book, by the quotes that are pulled out as evidence of excellent prose. I don't think great novels are necessarily composed of great prose, or that there's a correlation between beautiful prose and the quality of a work of fiction. A really good, interesting novel will often let a little ugliness get into its words - to create a certain effect, to leave the reader with a certain sense of disorientation.
I never know when I finish the novel I am writing which will be the next novel out of the station.
There's a perception that good writing is writing which runs smoothly. But smooth-running prose can work against what you're trying to express in a novel.
I read a lot of F. Scott Fitzgerald. I love 'Tender is the Night,' and its atmosphere of doomed romance. He was one of the greatest prose stylists, with a wonderfully clear but lyrical quality.
I try to write in a way where you care deeply what the next paragraph will be. I hear the rhythm of prose and that, to me, distinguishes great writing from ordinary writing. By the way, I don't even claim that I'm good. I claim that I value it.
Buechner is a worthy member of the great prose stylists: Pascal, Newman, and Merton, who have harnessed their art to a passionate religious faith.
I feel that whatever virtues the novel may have are very much connected with the limitations you mention. I am not writing a conventional novel, and I think that the quality of the novel I write will derive precisely from the peculiarity or aloneness, if you will, of the experience I write from.
As much as I revere great writing, and am still humbled by it, literary activities are no longer esoteric to me. When I read a great novel - something that I could never have written myself - I'm still looking at it a little bit like a technician.
A prose writer gets tired of writing prose, and wants to be a poet. So he begins every line with a capital letter, and keeps on writing prose.
There is poetry even in prose, in all the great prose which is not merely utilitarian or didactic: there exist poets who write in prose or at least in more or less apparent prose; millions of poets write verses which have no connection with poetry.
I can't be reading novels when I'm writing a novel, because somebody's voice creeps in. The hardest thing to do is keep the tone and your attitude over the course of a year or however long it takes.But when I'm writing short stories, which I will be doing shortly, I can read anything I like.
Writing has to do with truth-telling. When you're writing, let's say, an essay for a magazine, you try to tell the truth at every moment. You do your best to quote people accurately and get everything right. Writing a novel is a break from that: freedom. When you're writing a novel, you are in charge; you can beef things up.
Speech recognition is utterly crap for writing fiction. If you try reading a novel aloud you'll soon figure out why - written prose style is utterly unlike the spoken word.
What's the challenge in writing a novel that few people will read? I'm more than happy writing what I do and have no plans to change that.
When I was a kid, I'd go to the African-American section in the bookstore, and I'd try and find African-American people I hadn't read before. So in that sense the category was useful to me. But it's not useful to me as I write. I don't sit down to write an African-American zombie story or an African-American story about elevators. I'm writing a story about elevators which happens to talk about race in different ways. Or I'm writing a zombie novel which doesn't have that much to do with being black in America. That novel is really about survival.
I will read biographies or autobiographies while I'm writing, but mostly I put books in a to-read queue, like Rachel Cusk's new novel, "Outline."
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