A Quote by Joan Didion

When you're writing fiction, you don't have notes necessarily. You don't carve it, it's not like a piece of sculpture, it's more like water color. — © Joan Didion
When you're writing fiction, you don't have notes necessarily. You don't carve it, it's not like a piece of sculpture, it's more like water color.
You have to create your life. You have to carve it, like a sculpture.
Before I started working on a computer, writing a piece would be like making something up every day, taking the material and never quite knowing where you were going to go next with the material. With a computer it was less like painting and more like sculpture, where you start with a block of something and then start shaping it.
I read somewhere that happiness is like the bluebird of Maeterlinck: Try to catch it and it loses its color. It's like trying to hold water in your hands. The more you squeeze it, the more the water runs away.
Painting as it is now promises to become more subtle - more like music and less like sculpture - and above all it promises color. If only it keeps this promise.
Discovery still happens in the writing. You start in nonfiction with a whole lot more going for you, because all the discovery isn't waiting to be made. You've made some of it in the research. As you get deeper into a piece and do more research, the notes are in the direction of the piece - you're actually writing it.
My mother once told me I was like water. Water can carve its way even through stone. And when trapped, water makes a new path.
Novel writing, like so many things in life, is an iterative process. You come at it again and again, working at it like you would a piece of pottery or a stone sculpture, chipping away the parts that don't make sense, smoothing over the rough edges.
With non-fiction writing I feel like I'm confined and driven by what actually happened. That makes the "plot". So it's a process of getting all of my notes typed up, then scanning through the notes, trying to extract or find certain vignettes that seem like they might write well - that might have a potential for good energy, shape, etc. And then at some point I start stringing these together, keeping an eye on the word count.
I would like to carve my novel in a piece of wood. My characters—I would like to have them heavier, more three-dimensional ... My characters have a profession, have characteristics; you know their age, their family situation, and everything. But I try to make each one of those characters heavy, like a statue, and to be the brother of everybody in the world.
I would like to carve my novel in a piece of wood.
Writing nonfiction is more like sculpture, a matter of shaping the research into the finished thing.
I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it's really about the notes underneath the notes. When you do a test screening and somebody says, 'Well, I didn't like the love story,' but it was probably just too long.
The way I build stuff in my mind, it's sort of like a puzzle for me. I always talk about it like, when I'm writing a scene there's a certain feeling I'm trying to create. I'll have my list of scenes and it's more like feelings, these notes I want to hit.
Writing fiction is very different to writing non-fiction. I love writing novels, but on history books, like my biographies of Stalin or Catherine the Great or Jerusalem, I spend endless hours doing vast amounts of research. But it ends up being based on the same principle as all writing about people: and that is curiosity!
Writing humor for me is more like a watchful-ness. You have to watch. When you say something funny, or someone else does, it's more like you wait for the piece.
I'm writing another novel and I know what I'm going to do after, which may be something more like this again, maybe some strange mixture of fiction and non-fiction.
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