A Quote by Joyce Carol Oates
To be true to life, a novel must have an ending that is inevitable given the specific personalities of the characters involved. The novelist must not impose an ending upon them.
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The development of the plot of the novel leads to a single point, and it's my opinion that the ending that the novel has, which is a somewhat ambiguous ending, is the only logical ending given the structure of the book as a whole.
I want to expand the question of when something is done. I want to vex the ending. I want to mess around with that. I like the idea that if you make a work that has no clear ending, then you must play with the ending. Because if you don't, you're not highlighting the weird, lovely openness of abstraction.
Religion must be life made true; and life is action, growth, development - begun now and ending never. And a life made true cannot confine itself - it must reach out and twine around every pulsing interest within reach of its uplifting tendrils.
It has long been a tradition among novel writers that a book must end by everybody getting just what they wanted, or if the conventional happy ending was impossible, then it must be a tragedy in which one or both should die. In real life very few of us get what we want, our tragedies don't kill us, but we go on living them year after year, carrying them with us like a scar on an old wound.
What must novel dialogue . . . really be and do? It must be pointed, intentional, relevant. It must crystallize situation. It must express character. It must advance plot. During dialogue, the characters confront one another. The confrontation is in itself an occasion. Each one of these occasions, throughout the novel, is unique.
When the ending finally comes to me, I often have to backtrack and make the beginning point towards that ending. Other times, I know exactly what the ending will be before I begin, like with the story "A Brief Encounter With the Enemy." It was all about the ending - that's what motivated me.
A novelist's characters must be with him as he lies down to sleep, and as he wakes from his dreams. He must learn to hate them and to love them.
Your characters are always your children. And while you are writing, you're keeping them safe. Now they're ready to go into the world and it's sad. I'm happy with the way the novel came out but all the characters' ending really saddened me.
There's a reason a happy ending is called an ending. The trick of a television storyteller is to find all the rivers and mountains and valleys on the way to that ending.
I want an ending that's satisfying. I'm more of a classical writer than a modernist one in that I want the ending to be coherent and feel like an ending. I don't like when it just seems to putter out. I mean, life is chaotic enough.
I want an ending that’s satisfying. I’m more of a classical writer than a modernist one in that I want the ending to be coherent and feel like an ending. I don’t like when it just seems to putter out. I mean, life is chaotic enough.
The ending has to fit. The ending has to matter, and make sense. I could care less about whether it's happy or sad or atomic. The ending is the place where you go, “Aha. Of course. That's right.”
I always rewrite the very beginning of a novel. I rewrite the beginning as I write the ending, so I may spend part of morning writing the ending, the last 100 pages approximately, and then part of the morning revising the beginning. So the style of the novel has a consistency.
... religion (ought to be if it isn't) a great deal more than mere gratification of the instinct for worship linked with the straight-teaching of irreproachable credos. Religion must be life made true; and life is action, growth, development--begun now and ending never.
The bad novelist constructs his characters; he directs them and makes them speak. The true novelist listens to them and watches them act; he hears their voices even before he knows them.
It was the last that remained of a past whose annihilation had not taken place because it was still in a process of annihilation, consuming itself from within, ending at every moment but never ending its ending.
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