A Quote by Julia Cameron

If you want to write a novel, it's the Divine mind wanting to express. — © Julia Cameron
If you want to write a novel, it's the Divine mind wanting to express.
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.
I write what I can. I think being able to write like Michael Connelly and have a character that goes from novel to novel, or to dramatize history like Vidal or Ellroy, or have an explosively inventive mind like Bulgakov, would be an incredible thing. I don't have that. I only have what I have.
My heart tells me this is the best and greatest feeling I have ever had. But my mind knows the difference between wanting what you can’t have and wanting what you shouldn’t want. And I shouldn’t want you.
Acting, for me, has never been about wanting attention or wanting to be seen. It's funny that I'm in a profession where that's where I am. There's so much I want to express; it's about connecting with another person and the intimacy of what that is, and so I have to overcome my shyness.
I don't impose political responsibilities on my fiction. The last thing I would ever want to do, for example, is write a novel that would appear to want to tell people what to think about the immigration debate, and I would never write a novel whose sole ambition was to give a "positive" view of immigrants. I'm for open borders, by the way - down with the nation state!
I still remember the days, not wanting to see anybody, not wanting to talk to anybody, really not wanting to live. I was on an express elevator to the bottom floor, wherever that might be.
My sole literary ambition is to write one good novel, then retire to my hut in the desert, assume the lotus position, compose my mind and senses, and sink into meditation, contemplating my novel.
When I start getting close to the end of a novel, something registers in the back of my mind for the next novel, so that I usually don't write, or take notes. And I certainly don't begin. I just allow things to percolate for a while.
I've been wanting to write a book about what goes into creating a novel, and the story behind 'A Passage to India' is especially interesting.
And it is a folly to try to craft a novel for the screen, to write a novel with a screen contract in mind.
When people write a novel, they want to have that reach and that impact. To get it with a first novel, you can either see it as an albatross or a calling card.
Objectifying your own novel while writing it never really helps. Instead, I guess while you're writing you need to think: This is the novel I want to write. And when you're done you need to think: This is what the novel I wanted to write feels like and reads like and looks like. Other people might call it sweeping or small, but it's the book you chose.
I feel that whatever virtues the novel may have are very much connected with the limitations you mention. I am not writing a conventional novel, and I think that the quality of the novel I write will derive precisely from the peculiarity or aloneness, if you will, of the experience I write from.
One of things I write about a lot is the role of women. An older friend of mine said that she feels like there's always a tension between wanting to be free and wanting to be cherished. I think that's one of the things that my whole book speaks to, wanting to break out of the confines of the roles that are prescribed for women and yet at the same time, not wanting to be totally free. You want to have intimate relationships. It's that bursting out of confinement.
I started out wanting to write great poems, then wanting to discover true poems. Now, I want to be the poem.
It's a lot to expect of yourself, to write a novel in a year. Anyway, you don't write a novel, you write a scene, and then another scene.
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