A Quote by Jonathan Franzen

Fiction that isn't an author's personal adventure into the frightening or the unknown isn't worth writing for anything but money. — © Jonathan Franzen
Fiction that isn't an author's personal adventure into the frightening or the unknown isn't worth writing for anything but money.
I've been writing long enough to know that fiction, as a rhetorical mode, works very differently from expository writing. If an author has a specific critique about contemporary society in mind, fiction tends not to be the best means to deliver that critique.
Reality has no security and that is its beauty. Life has no security and that is its beauty. Because there is no security, there is adventure. Because the future is unknown, nobody knows what is going to happen the next moment. That's why there is challenge, growth, adventure. If you miss adventure, you miss all. If your life is not that of an adventure, of a search into the unknown, then you are living in vain.
I suppose writing nonfiction did prepare me for writing fiction. Whenever you write anything, you're honing your skills for writing anything else.
I think that I had read so much fiction that the craft itself sort of sank into me. I didn't read any 'how to' books or attend any popular-fiction-writing classes or have a critique group. For many years into my writing, I didn't even know another author. For me, a lot of reading was the best teacher.
Whenever I finish a book, I go off and have some kind of adventure. Having had an adventure in my writing chair or on my writing sofa, an internal adventure, then I need to balance that off with an external adventure, so I'll go tramping through Africa or whitewater rafting or float to Hawaii in a martini shaker or something.
In a sense, all fiction is experimental. Every new book is an adventure into unknown territory. As Hemingway told us, you (the writer) have to go out beyond where you have gone before.
Fiction should be about moral dilemmas that are so bloody difficult that the author doesn't know the answer. What I hate in fiction is when the author knows better than the characters what they should do.
Even the people who have had success and made money writing these books of fiction seem to feel the need to pretend it's no big deal, or part of a natural progression from poetry to fiction, but often it's really just about the money, the perceived prestige.
I believe that all fiction is personal and all writing is at some level personal.
Fiction writing was in my blood from a very young age, but I never considered writing as a real career. I thought you had to have some literary pedigree to be a successful author, the son of Hemingway or Fitzgerald.
The things worth writing about, and the things worth reading about, are the things that feel almost beyond description at the start and are, because of that, frightening.
A work of fiction should be, for its author, a journey into the unknown, and the prose should convey the difficulties of the journey.
The world of fiction is a sovereign world that comes to life in the author's head and follows the rules of art, of literature. And that is the major difference that is reflected in the form of the work, in its language and its plot. An author invents every aspect of a fiction, every detail.
Fiction is often most powerful when the author is exploring an issue - and not writing like a know-it-all who has the perfect answer.
I'm not against anything that anybody might want to try to pull off in fiction. Fiction writing has to, at least, always represent a possibility of absolute freedom.
Maybe I'm perverse, but the question of "rooting" for a character, or setting out to write a character for whom other people will root, has never had anything to do with why I read or write fiction. As long as the writing and story remain alive, intense, invigorating, provoking, the characters can be as demonic or saintly as the author wants.
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