A Quote by Janet Evanovich
I work real hard so the reader doesn't have to. I don't want them to have to look up words.
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With a 660-page book, you don't read every sentence aloud. I am terrified for the poor guy doing the audio book. But I do because I think we hear them aloud even if it's not an audio book. The other goofy thing I do is I examine the shape of the words but not the words themselves. Then I ask myself, "Does it look like what it is?" If it's a sequence where I want to grab the reader and not let the reader go then it needs to look dense. But at times I want the reader to focus on a certain word or a certain image and pause there.
It is excellent discipline for an author to feel that he must say all he has to say in the fewest possible words, or his reader is sure to skip them; and in the plainest possible words, or his reader will certainly misunderstand them. Generally, also, a downright fact may be told in a plain way; and we want downright facts at present more than anything else.
The biggest thing to realize when you're guarding great players is, look, they're going to score - it's hard to guard anyone one-on-one, straight-up and have them be shut out. You just want to try to make them work for their possessions.
I want you to understand the words. I want you taste the words. I want you to love the words. Because the words are important. But they're only words. You leave them on the paper and you take the thoughts and put them into your mind and then you as an actor recreate them, as if the thoughts had suddenly occurred to you.
I look at my sons' little faces, and I want to be their superhero. I don't want them to have to look outside to a third party for a hero, for someone to look up to and admire. I want that to be ME. I want that person to be MOMMY for them.
To be honest, I struggle with words. I often forget them, you know, the official ones. Instead, I make words up. I use home-made words that sound similar to the real thing. Usually, they're some sort of confused hybrid of two existing words.
The desire to be liked is acceptable in real life but very problematic in fiction. Pleasantness is the enemy of good fiction. I try to write on the premise that no one is going to read my work. Because there's this terrible impulse to grovel before the reader, to make them like you, to write with the reader in mind in that way. It prevents you doing work that is ugly or upsetting or difficult. The temptation is to not be true to what you want to write and to be considerate or amusing instead. I'm always trying to fight against the impulse to make my readers like me.
I was never much of a reader. I'm a slow reader, which is unusual, because I'm so into language and I love words so much. But it's hard for me to read.
I look at people in certain circumstances, and I fall into caretaker mode real quick, real easy. I like to shoulder people up and carry them along, and then I end up creating some kind of dependency. I enable. It's really, really hard for me.
Children are game for anything. I throw them hard words, and they backhand them over the net. They love words that give them a hard time, provided they are in a context that absorbs their attention.
With the audience I write for, I want to make sure that the reader is eagerly turning every page. I want each of my books to be an absorbing reading experience, an authentic piece of literature. The worst thing that can happen is for a book to have a chilling effect on the reader, to have a kid pick it up and look at a bunch of footnotes and think, No, I'm not going to read this, it's too intimidating.
To see the universe as it is, you must step beyond the net [the matrix]. It is not hard to do so, as the net is full of holes. Look at the net and its many contradictions. You do and undo at every step. You want peace, love and happiness, and work hard to create pain, hatred and war. You want longevity and you overeat. You want friendship and you exploit. See your net as made of such contradictions and remove them - your very seeing them will make them go away.
There is a tendency to want to isolate a little bit, from people that might look at me from a fan position, because it's hard to be a real person around them, and I really want that when I'm not out on tour and in that sort of public eye.
I believed in making it look real. I was probably hard to work with because I wanted it to make real, and I knew how to wrestle.
Bend words. Stretch them, squash them, mash them up, fold them. Turn them over or swing them upside down. Make up new words. Leave a place for the strange and downright impossible ones. Use ancient words. Hold on to the gangly, silly, slippy, truthful, dangerous, out-of-fashion ones.
I have a passion for words. I love words. And I'm just learning and developing my skills for words. I do books and I do journalism and plays. I have a broad palette. I don't have a great eye for direction. I love working with actors and I work very well with them because I appreciate what they bring to the table. I'd never say never, of course, but I look at it and don't really fancy it. I want to try and master the word side of it first.
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