A Quote by Geraldine Brooks
Because I worked as a newspaper reporter for about 14 years before attempting my first novel, I learned to write under almost any circumstances- by candle light, in longhand, in African villages where there was no power, under shelling in Kurdistan.
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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.
Back in my 20s, when I wrote 'A Place of Greater Safety,' the French Revolution novel, I thought, 'I'll always have to write historical novels because I can't do plots.' But in the six years of writing that novel, I actually learned to write, to invent things.
Back in my 20s, when I wrote 'A Place of Greater Safety,' the French Revolution novel, I thought, 'I'll always have to write historical novels because I can't do plots.'' But in the six years of writing that novel, I actually learned to write, to invent things.
I write about the power of trying, because I want to be okay with failing. I write about generosity because I battle selfishness. I write about joy because I know sorrow. I write about faith because I almost lost mine, and I know what it is to be broken and in need of redemption. I write about gratitude because I am thankful - for all of it.
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.
What I couldn't help noticing was that I learned more about the novel in a morning by trying to write a page of one than I'd learned in seven years or so of trying to write criticism
What I couldn't help noticing was that I learned more about the novel in a morning by trying to write a page of one than I'd learned in seven years or so of trying to write criticism.
Once the concentration camps and the hell-holes of the world were in darkness. Now they are lit by the light of the Amnesty candle; the candle in barbed wire. When I first lit the Amnesty candle, I had in mind the old Chinese proverb: 'Better light a candle than curse the darkness.'
I first tried a novel when I was 14. First finished one when I was 16. First started working on stuff that had a chance of being salable in my early 20s, then didn't write much fiction at all because I was in grad school.
There's not much a newspaper reporter can do about dead men. But a newspaper reporter and a cop and a judge can deliver some justice. That's why the founding fathers wrote it up the way they did, I suppose. Life. Liberty. Pursuit of happiness. Everyone is entitled to those things.
At thirty-five, having spent over twenty years running varied businesses for my family, I decided to sit down and write my first novel. I had never written anything longer than a couple of pages till then and was foolishly attempting to write a hundred-thousand words.
I made a sort-of living in the beginning of my acting career as a reporter. I think my very first job was 'Early Edition' as reporter no. 1, and for 'Light It Up,' I was reporter no. 2.
Christmas is God lighting a candle; and you don't light a candle in a room that's already full of sunlight. You light a candle in a room that's so murky that the candle, when lit, reveals just how bad things really are.
The good thing about working on the books for 14 years before they hit the shelves is that I worked out most of the kinks long before they were published.
We have learned in recent years to translate almost all of political life in terms of conspiracy. And the spy novel, as never before, really, has come into its own.
I always write on unlined typing paper and write the first draft in longhand, using cheap Bic pens. I try to write about four pages a day, which usually yields a first draft in six months. I don't plot ahead of time, so I'm flying by the seat of my pants for the first draft.
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