A Quote by Garth Greenwell

Writing the novel felt so private to me! I think publishing a novel is quite public and exposing, and what's a little frightening to me right now is the fact that it feels so entirely opposed to the privacy that is writing.
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.
Objectifying your own novel while writing it never really helps. Instead, I guess while you're writing you need to think: This is the novel I want to write. And when you're done you need to think: This is what the novel I wanted to write feels like and reads like and looks like. Other people might call it sweeping or small, but it's the book you chose.
Deciding to write a novel about something - as opposed to finding you are writing a novel around something - sounds to me like a good evocation of writer's block.
Nothing is wrong with you. You're not different. Everybody feels as bad as you do: this is just what writing a novel feels like. To write a novel is to come in contact with raw, primal feelings, hopes and longings and psychic wounds, and try to make a big public word-sculpture out of them, and that is a crazy hard thing to do.
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.
For me, writing a novel is like having a dream. Writing a novel lets me intentionally dream while I'm still awake. I can continue yesterday's dream today, something you can't normally do in everyday life.
While working on my first five books, I kept wishing I was writing a novel. I thought until you wrote a novel, you weren't taken seriously as a writer. It used to trouble me a lot, but nothing troubles me now, and besides, there has been a change. I think short stories are taken more seriously now than they were.
You think you're writing one historical novel and it turns into three, and I'm quite used to a short story turning into a novel - that's happened through my whole career.
Writing a graphic novel is hard. It feels closer to a screen play than to a novel.
I think that the practice of writing every day was what made me remember that writing doesn't have anything to do with publishing books. It can be totally separate and private - a comforting thought.
It was only after two years' work that it occurred to me that I was a writer. I had no particular expectation that the novel would ever be published, because it was sort of a mess. It was only when I found myself writing things I didn't realise I knew that I said, 'I'm a writer now.' The novel had become an incentive to deeper thinking. That's really what writing is—an intense form of thought.
I'm never interested in writing a kind of neutral, universal novel that could be set anywhere. To me, the novel is a local thing.
I naively thought I would quit television writing, move up to Seattle, my novel would come out, and then I'd have a novel writing career, and so I found myself really stuck in this very poisonous self-pitying state and felt like I'd never write again. And I blamed Seattle for that.
Writing a novel is not at all like riding a bike. Writing a novel is like having to redesign a bike, based on laws of physics that you don't understand, in a new universe. So having written one novel does nothing for you when you have to write the second one.
I was a lot dumber when I was writing the novel. I felt like worse of a writer because I wrote many of the short stories in one sitting or over maybe three days, and they didn't change that much. There weren't many, many drafts. That made me feel semi-brilliant and part of a magical process. Writing the novel wasn't like that. I would come home every day from my office and say, "Well, I still really like the story, I just wish it was better written." At that point, I didn't realize I was writing a first draft. And the first draft was the hardest part.
When I was writing my first novel, 'Elizabeth is Missing,' I was writing the only novel I had ever written and writing about the only protagonist I'd ever written about. Because of this, I didn't think of her as a construct. Maud was real.
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