A Quote by Jennifer Egan

My first attempt at writing a novel was horrible. I had to throw it away. But I stuck with the idea, which is what became 'The Invisible Circus.' — © Jennifer Egan
My first attempt at writing a novel was horrible. I had to throw it away. But I stuck with the idea, which is what became 'The Invisible Circus.'
Just about everybody has written a first novel that they throw away before writing their actual first novel.
If you haven't got an idea, start a story anyway. You can always throw it away, and maybe by the time you get to the fourth page you will have an idea, and you'll only have to throw away the first three pages.
I had just begun an M.A. in Creative Writing, and I had to write a novel, so I began writing a novel that later became 'A Life Apart.'
I had this idea about terrible things happening to orphans, and I knew it was such a horrible idea that the idea of writing it down and then submitting it professionally was obviously absurd.
My first attempt at writing was very unstructured and formless, with shifting points of view. I was trying to understand how long form might work, and I realized I had something shapeless. It was a total car wreck. But I still felt I could pull it off. So I ditched that attempt and started writing in the opposite manner, in first person, with a driving narrative.
In the case of my second film The Fish Child (El Niño Pez), I had written the novel about 5 years before I made into a film. In the case of The German Doctor I had published the novel a year before I started writing the script, I even had another project to shoot. But I had this idea of the powerful cinematic language from the novel that I couldn't let go of.
Anthropological fieldwork is so much like writing a novel. Granted, you don't have the physical disruption and disorientation, but writing a novel is like entering a new culture. You don't know what the hell is going on. And every day you feel like you have nothing, you're going nowhere. Or you feel that first it's going somewhere, but then you get into that horrible middle part.
I'm the first has-been star singer ever to sing with the circus. I mean, Presley sang with the circus, but that was before he became a star.
My cure for writer's block is to step away from the thing I'm stuck on, usually a novel, and write something totally different. Besides fiction, I write poetry, screenplays, essays and journalism. It's usually not the writing itself that I'm stuck on, but thing I'm trying to write. So I often have four or five things going at once.
When I became a feminist, when the movement started in the late sixties, I started writing because I had something urgent to say. My first novel, Memoirs of an Ex-Prom Queen, is the product of that urgency.
I had reached a point in my career in which I was ready to try something new in my writing, and the idea of a novel has always been in the back of my mind.
I started a second novel seven times and I had to throw them away.
When I was writing my first novel, 'Elizabeth is Missing,' I was writing the only novel I had ever written and writing about the only protagonist I'd ever written about. Because of this, I didn't think of her as a construct. Maud was real.
I had a strong propensity, which I still have, to be invisible. In grade school, I'd try to disappear and become formless. I lived in a very imaginary world. I loved poetry and wrote my first novel when I was 9. It was about a little girl and the people she met in the woods.
If I'd known how wrong I was - if I'd had any idea of the awful night that lay ahead - I'd have run after him and never returned to that disgusting circus of blood, that revolting circus of death.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
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