A Quote by Jacqueline Carey

It's funny, because in deference to conventional wisdom, I spent my struggling writer years trying to suppress my naturally baroque literary voice and write clean, spare prose. I finally gave up and embraced my baroque tendencies when I wrote the Kushiel series.
Find what gave you emotion; what the action was that gave you excitement. Then write it down making it clear so that the reader can see it too. Prose is architecture, not interior decoration, and the Baroque is over.
I'm involved with a baroque opera company here in Italy. I write some of their booklet material, comments on operas. I also write for some baroque opera festivals because this music is my real passion.
Prose is architecture, not interior decoration, and the Baroque is over.
I would define the baroque as that style that deliberately exhausts (or tries to exhaust) its own possibilities, and that borders on self-caricature. The baroque is the final stage in all art, when art flaunts and squanders its resources.
My thesis statement would be—Bach didn't write Baroque music. He wrote great music.
If you take a Baroque commode and put a Baroque clock on top of it, maybe it is not so interesting as when you put a computer on top of it. Then you see both items in a new way.
There's this message to comedians in particular, that you shouldn't write it, and a television writer should write it. And that's a prevailing conventional wisdom that I think is really wrong. That's not to say that television writers aren't great, but I think that the belief that some comedy writer's going to be able to capture your voice is naive.
What I like about baroque is the reemergence of pre-Christian religion. The art of baroque mixes ancient pre-Christian myths with Christian imagery and each reflects upon the other.
A contemporary artist can use the findings of all epochs and all styles, from the most primitive literary expressions up to the most refined products of the baroque.
You don't have to be as good a writer to write a song; it's a very different process to writing straight prose. To learn how to write prose takes a lot of years of practice.
There are certain writers I can't read when I'm trying to write because their voices are so distinct. Cormac McCarthy, he's the most different writer from anything I've ever written, but there's something about those really spare sentences that is just tough - it would be too much of an influence. Grace Paley is my favorite writer. Her stuff is so voice-driven, when I read her a lot I want to make my writing more voice-y and dialogue-heavy. I love a lot of stuff in translation.
I gave up trying to please others and started playing for myself, and because I love music, things naturally happened then. Funny how that works.
I'll never be a minimalist. The fact that the prose is more tightly controlled doesn't for a minute mean that it's minimalist. I very much like arcane words and baroque sentence structure.
And write what you love - dont feel pressured to write serious prose if what you like is to be funny. You're a reader as well as a writer, so write what you'd want to read.
I try to find a style that matches the book. In the Baroque Cycle, I got infected with the prose style of the late 17th and early 18th centuries, which is my favorite era. It's recent enough that it is easy to read - easier than Elizabethan English - but it's pre-Victorian and so doesn't have the pomposity that is often a problem with 19th-century English prose. It is earthy and direct and frequently hilarious.
I was trying to run something to ground that had come to my attention when I was working on the Baroque Cycle. That series, of course, was about the conflict between Newton and Leibniz. Leibniz developed a system of metaphysics called monadology, which looked pretty weird at the time and was promptly buried by Newtonian-style physics.
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