A Quote by Ian Mcewan

I believe the novella is the perfect form of prose fiction. — © Ian Mcewan
I believe the novella is the perfect form of prose fiction.
I believe the novella is the perfect form of prose fiction. It is the beautiful daughter of a rambling, bloated ill-shaven giant (but a giant who's a genius on his best days).
To my mind, the prose in a non-fiction work that's going to endure has to be of the same quality as the prose in a work of fiction that endures.
I've already written 300 space poems. But I look upon my ultimate form as being a poetic prose. When you read it, it appears to be prose, but within the prose you have embedded the techniques of poetry.
In high school, in 1956, at the age of sixteen, we were not taught "creative writing." We were taught literature and grammar. So no one ever told me I couldn't write both prose and poetry, and I started out writing all the things I still write: poetry, prose fiction - which took me longer to get published - and non-fiction prose.
Prose gets divided up into fiction and nonfiction and short fiction and long fiction and autobiographical nonfiction and so on. Poetry can do any of those things except with the added definition of intensified formal pressure.
If I could write the perfect novella I would die happy.
I've never written poetry. I'm not a poet, but I think the nearest you get is either the short story or the novella, in that you can't waste a word. There is no hiding place: everything's got to be seen to relate, and the prose counts.
Speech and prose are not the same thing. They have different wave-lengths, for speech moves at the speed of light, where prose moves at the speed of the alphabet, and must be consecutive and grammatical and word-perfect. Prose cannot gesticulate. Speech can sometimes do nothing more.
Ivan Turgenev's novella 'First Love' is one of the most perfect things ever written.
I believe that one reason I began writing essays - a form without a form, until you make it - was this: you didn't have to borrow from an emotionally and visually upsetting past, as one did in fiction, apparently, to write your story.
I feel like the reason I ended up becoming a playwright is because I never choose the right word. As a kid, my fantasy profession was to be a novelist. But the thing about writing prose - and maybe great prose writers don't feel this way - but I always felt it was about choosing words. I was always like, "I have to choose the perfect word." And then it would kill me, and I would choose the wrong word or I would choose too many perfect words - I wrote really purple prose.
I don't believe that fiction is dead. I know there are some people who believe that it's an outdated art form, and that to express truth today you need to work in different forms, to write books where it's perhaps not clear what's fiction and what's memoir. I have nothing against those books and love many of them very much. But we have enough space for everyone, traditional realists and hybrid writers, and experimental writers all.
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.
The final belief is to believe in a fiction, which you know to be a fiction, there being nothing else. The exquisite truth is to know that it is a fiction and that you believe in it willingly.
Comedy is like fictional charm. It's the charm of fiction. Or the charisma of fiction. When you meet somebody who's immediately charismatic, you're attracted to that person. And in fiction it's got to come out in either one of two ways: in the prose itself, and you're hooked immediately because you never want to leave such a colorful and penetrating world. Or, it's simply being a funny writer.
With Wings of the Butterfly, John Urbancik infuses his tale of shapeshifters, romance and pack rivalry with some unexpected and welcome surprises. Fluid prose, gore galore and all-too human characters make this unusual, fast-paced novella a must for fans who like their horror served blood-rare.
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