A Quote by Janet Fitch

The thing that makes vivid writing is when the reader is in the body of the story, the body of the character. Things smell like something; there's weather, there's texture, there's light.
Lena Dunham or Miranda July, those people are sort of thinking about their work in a slightly different way than I do, where their whole body is a seed of what they're creating. I can't imagine watching Miranda's movies with anybody else playing her role, she's so integral. But for me, it feels more like every story is really individual. If I thought of something else, or thought it should be my body representing it, I'd fold my body into it. But most of the time I'm writing to get something out of my body.
The chief reason I shove the reader inside the body - or more specifically, the chief reason I try to get the reader to feel their own body while they are reading, is this: we live by and through the body, and the body, is a walking contradiction.
For me, a lot of Discipline was very personal writing, like writing through and working out being inside this gendered body and also the compulsions of the body, the muting of the mind as driven by the body. My father had died some years ago so he haunts the book too, just floats through it ghost-like. But, the writing of every book is different for me. They are so like living creatures, these books, so I don't know what's carried over into the writing of the next things - except maybe that I'm best when I make my writing practice a routine.
I have risen to a body not yet born, existing like a light around a body through which the body moves like a sliding moon.
Hearing is the motion of molecules; sound is a wave in the atmosphere; solidity is the characteristic of spatial juxtaposition of atoms; smell is something given off by a body, rather than something belonging to a body.
We have a body, but we also have a subtle body, a body of energy that looks like our physical body. The subtle physical body is made up of energy, of light that vibrates at a very high rate so the human physical eyes can't see it.
I've thought about my relationship to my body, my body dysmorphia, and what that means as someone who's like, 'Oh, I'm going to be on camera.' Sometimes it makes my body dysmorphia worse, but I've also tried to not let my mental illness rob the joy of getting to do something I've always wanted to do.
For me, body art is all about expression; it's a lifestyle and can serve as a reminder that when my career is done, I'll have a story to tell on my body. And it will be my story of my life on my body.
If the theatre has taught me anything, it's that when things change in the body, in the body politic, in the body of the world, in the body of the earth, in the body of the person, there's change. You never go back.
One of the ways in which writers most show their inventiveness is in the things they tell us about how they write. Generally speaking, I don't like to make a plan before I've written a story. I find it kills the story - deadens it, makes it uninteresting. Unless I'm surprised by something in a story, the reader's not going to be surprised either.
It’s not the body that people love, but the soul. The body is a temporary vehicle. Without the soul, the body is like a car without a driver. I see through my eyes, smell through my nose, taste through my tongue, hear through my ears, feel through my skin, think through my brain, and love through my heart. But who am I? Who is the witness, enjoyer and sufferer that activates my body?
You have to stand up and be a human. You have to honor the man or woman that you are. Respect your body, enjoy your body, love your body, feed, clean, and heal your body. Exercise and do what makes your body feel good. This is a puja to your body, and that is a communion between you and God. . . . When you practice giving love to every part of your body, you plant seeds of love in your mind, and when they grow, you will love, honor, and respect your body immensely.
As readers, we want not only a strong story, but also characters we can relate to, characters that feel real. We have to find something of ourselves in them. Each character, even those only there to serve the mechanics of the plot, should have a number of layers. The entire world you are stepping into as a reader must feel real. It must have resonance, you must be able to touch the light; smell the smells.
What I need, as a reader, is a character with a heart and a voice and a pulse. I need a character so vivid and so specific that she doesn't feel like fiction.
When I was in middle school and even high school, I wasn't comfortable with my body. I look back, and it makes me sad, but I've grown into my body and really embrace it. I don't have the typical girl body; I'm kind of built like a boy.
If a reader comes across a story that makes them cry, you can be sure that the writer felt every single thing that makes the reader cry.
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