A Quote by Gregory Benford
When Joseph Wambaugh writes about the LAPD, you listen because you know he knows the scene. Lots of people write cop novels, but they don't have that authenticity.
Related Quotes
I learned to write crime novels by reading people I hoped to emulate: people like James Lee Burke, Lawrence Block, Joseph Wambaugh, and Sue Grafton.
Joseph Wambaugh did not invent the police novel, but no one had seen anything like 'The New Centurions' when it was published in 1971. Here was a working, living, breathing cop with a decade of experience on the beat.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
Once I became a cop. I dived into that career. I never wanted to be an LAPD officer because I thought 'LA is super dangerous, not the place I'd want to be a cop'. But as a boy of course I was into guns, cops and robbers, so that's why it was cool to me and thought 'Yeah I could do this job'.
I have great love for Saint Joseph, because he is a man of silence and strength. On my table I have an image of Saint Joseph sleeping. Even when he is asleep, he is taking care of the Church! Yes! We know that he can do that. So when I have a problem, a difficulty, I write a little note and I put it underneath Saint Joseph, so that he can dream about it! In other words I tell him: pray for this problem!
I don't know why one author writes westerns while another writes detective novels. You don't know why. You go where the intensity is. I feel most comfortable writing about monsters. It's possible that I feel like a monster myself. Or maybe it's because we all have a monster inside of us, a vampire, a ghost, a witch or a werewolf. You do it because it works and it feels really right and authentic.
My literary heroes all wrote about L.A.: Joseph Wambaugh, Ross Macdonald, and Raymond Chandler were the three writers that made me want to be a writer.
My writing knows more than I know. What a writer must do is listen to her book. It might take you where you don’t expect to go. That’s what happens when you write stories. You listen and you say ‘a ha,’ and you write it down. A lot of it is not planned, not conscious; it happens while you’re doing it. You know more about it after you’re done.
All my novels are rooted in their time and in their place. The place of my novels is Israel, almost without exception. Almost without exception, my novels are rooted in Israel because that's the place I know well. And, that's my gutsy advice to any young writer: write only about what you know well. Don't write about that which you don't know.
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.
have a much harder time writing stories than novels. I need the expansiveness of a novel and the propulsive energy it provides. When I think about scene - and when I teach scene writing - I'm thinking about questions. What questions are raised by a scene? What questions are answered? What questions persist from scene to scene to scene?
In Pakistan, many of the young people read novels because in the novels, not just my novels but the novels of many other Pakistani writers, they encounter ideas, notions, ways of thinking about the world, thinking about their society that are different. And fiction functions in a countercultural way as it does in America and certainly as it did in the, you know, '60s.
I write my novels personally, desperately and non-negligently. When I write my novels, I think about my novels only, and never do other works.
I write by hand in my notebooks and number the drafts, so I know how crazy I can get with this. Some writers, like my teacher Marilynne Robinson, she only writes one draft. I've thought about this a lot; I think it's because she writes it 80 times in her head before it comes out.
We can create the sensation of community through the accrual of actions, and that's often the clichéd way that storytelling is talked about, as someone taking a solo, and that's great for lots of reasons. But I don't really like to feel like I'm forced to listen to it in a certain way, or that there is one master reading of performance. I think what we want from performance is multiplicity, which is lots of ways in and through it, because it's for lots of people, and it was created by lots of people, often.
I hate that rule that says write about what you know, it leads to too many British novels about marriages going slightly wrong. Write about what you don't know, just act as though you do.
Related Authors
Alan Lightman Quotes
American
Physicist
Albert Einstein Quotes
German
Physicist
Brian Greene Quotes
American
Physicist
Freeman Dyson Quotes
American
Physicist
J. Robert Oppenheimer Quotes
American
Physicist
James Clerk Maxwell Quotes
Scottish
Physicist
Lawrence M. Krauss Quotes
American
Physicist
Leonard Mlodinow Quotes
American
Physicist
Lisa Randall Quotes
American
Physicist
Michio Kaku Quotes
American
Physicist
Murray Gell-Mann Quotes
American
Physicist
Niels Bohr Quotes
Danish
Physicist
Richard P. Feynman Quotes
American
Physicist
Roger Penrose Quotes
English
Physicist
Stephen Hawking Quotes
English
Physicist
Werner Heisenberg Quotes
German
Physicist