A Quote by Gabriel Garcia Marquez

Then the writing became so fluid that I sometimes felt as if I were writing for the sheer pleasure of telling a story, which may be the human condition that most resembles levitation.
Experimental novels are sometimes terribly clever and very seldom read. But the story that appeals to the child sitting on your knee is the one that satisfies the curiosity we all have about what happened then, and then, and then. This is the final restriction put on the technique of telling a story. A basic thing called story is built into the human condition. It's what we are; it's something to which we react.
Writing for theatre is certainly different to writing an essay or any other kind of fiction or prose: it's physical. You're also telling a story, but sometimes the story isn't exactly what you intend; maybe you uncover something you had no idea you were going to uncover.
The writers are writing human beings, and they're writing about the human condition and how difficult it is to function in that condition. I think it's one of the charms of the show, the idea of redemption and working towards becoming better people, for everybody involved.
Another strand of my writing is the importance of the idea. If you think about fiction writing as a spectrum, where at one end of the spectrum in the infrared, are the story tellers, and the people for whom creation of wonderful characters and telling a good story is the most important thing.
As for myself: I had come to the conclusion that there was nothing sacred about myself or any human being, that we were all machines, doomed to collide and collide and collide. For want of anything better to do, we became fans of collisions. Sometimes I wrote well about collisions, which meant I was a writing machine in good repair. Sometimes I wrote badly, which meant I was a writing machine in bad repair. I no more harbored sacredness than did a Pontiac, a mousetrap, or a South Bend Lathe.
I may be writing well, I may be writing poorly, but I enjoy the act of writing and sometimes when it turns out okay, I feel an elation that is incomparable.
Knowing that a story needs to be told is a great motivator, even if telling a given story comes at a price. Writing Hunger has been the most difficult writing of my life, and it's the rawest and perhaps most necessary. We'll see how people take it. I always strive to write beyond personal catharsis because though I write first and foremost for myself, I do recognize that I need to look outward as much if not more than I look inward, so the reader has something with which they can engage.
I enjoy writing, sometimes; I think that most writers will tell you about the agony of writing more than the joy of writing, but writing is what I was meant to do.
The Term Paper Artist' represents two models of writing, one of the little boy bouncing his ball, generating stories for the sheer pleasure of it, and the besieged adult, writing to make a living, having to contend with a very competitive, very unreliable world in which public image counts.
There was lots of pleasure in writing The Flamethrowers. Then again, what is pleasure? Some pleasure is easy and other kinds are never quite felt, existing only as the residue of hard work, or more as satisfaction than thrill.
I didn't know how story worked. So, when writing the screenplay, people introduced me to the science of it. And I'm grateful. I'll probably use that information for the rest of my career, in terms of writing novels or writing stories. And then, of course, to help me live a better story, a more meaningful story
Good writing is good writing. In many ways, it’s the audience and their expectations that define a genre. A reader of literary fiction expects the writing to illuminate the human condition, some aspect of our world and our role in it. A reader of genre fiction likes that, too, as long as it doesn’t get in the way of the story.
Alice and I, we'd met before, but we were able to kind of sit and chat on the set of Dark Shadows, and talk about maybe writing some songs together. We started doing that, and then one thing led to another and it became this Vampire project - because he was telling stories about all those days, which were fascinating.
All my writing-life people kept telling me that I should stop writing short stories and start writing novels: my agent, my Israeli publisher, my foreign ones, my bank manager - they all felt and keep feeling that I'm doing something wrong here.
The ‘experimental’ writer, then, is simply following the story’s commands to the best of his human ability. The writer is not the story, the story is the story. See? Sometimes this is very hard to accept and sometimes too easy. On the one hand, there’s the writer who can’t face his fate: that the telling of a story has nothing at all to do with him; on the other hand, there’s the one who faces it too well: that the telling of the story has nothing at all to do with him
I was writing when I was very young, and then I became interested in everything - I wanted to do photography. I wanted to act. I wanted to write plays, and then I wanted to film and to paint, but I felt that film had a condition that reunites everything.
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