A Quote by Karin Fossum
I use the setting of a small rural Norwegian community - the kind of place that I know so intimately. I could never write a novel set in a big city, because, frankly, I don't know what it would be like.
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Chicago is seen as everything that Trump detests, which I think kind of reflects really well on the city I think, because it's a mark of what a classy, cool, sort of place it is. You can't tame everyone in America, as much as these people would like to, into some kind of small-town, Southern community.
Write what you know. Every guide for the aspiring author advises this. Because I live in a long-settled rural place, I know certain things. I know the feel of a newborn lamb's damp, tight-curled fleece and the sharp sound a well-bucket chain makes as it scrapes on stone. But more than these material things, I know the feelings that flourish in small communities. And I know other kinds of emotional truths that I believe apply across the centuries.
I liked the give-and-take of a policy discussion in the community, with citizens. I didn't know that even took place, frankly, but I never dreamed it would be an enjoyable thing to do.
I come from a very small rural village in northern Germany, and being an actor never even seemed like a possibility. I thought you would have to live in a big city, or be discovered somewhere, or be born into an artistic family, which I certainly wasn't.
It all adds up; never discount your efforts, because small efforts build big things. One word doesn't make a novel, but one word does begin a novel, and from that small beginning everything else follows. Even if it's just 'The', write something on that blank page.
[Grew up in Hawaii] that gave [Barack Obama] a kind of optimism, an ability to see things, you know, and frankly, an ability to trust, you know, in his fellow, you know, white countrymen in a way that I, for instance, you know, and the vast majority of black people I know never really could.
When you look at a city, you know, it looks so unique. You feel this kind of uniqueness, you know, and especially if you go from a big city to a small city or if you go from one country to another. Cities look very different, often. They even feel very different. You know, and they are, of course. They certainly are.
Early on, I said to myself that I would like to write a kind of moral and spiritual history of a place. It sounds a little pretentious, I know. But that's really what I set for myself.
People write because it seems like it'll be an easier job than carpet laying, that they might meet more girls. And they write because the world strikes them as being a marvelous place, and they want to keep bringing that to everybody's attention. You know ~ a scary place, a menacing place, an exciting place because it's scary and menacing. But mainly, kind of glorious.
I think that setting a novel in a small town taps into a sense of nostalgia among readers. People tend to believe life is different in small towns, and frankly, it is different.
I knew I could never be an actor as a man. It just doesn't work, you know? And so when I was doing drag, I realized I could do that kind of stuff, and then when I was transitioning, I kind of gave up on the whole thing because I didn't think that this time would ever come, you know?
I've spent most of my life in L.A. and I'm still amazed at things that I don't know about the place. There are a lot of places I've never been to yet and I may never even make it. There's so much here and there's so much of a variety in terms of culture now. It's amazing. It's all here in one big city. In a lot of ways, the city is unique in the world because it's hard to find another city that has the diversity and range. It's a microcosmic planet, if you look at it that way. And in that sense, it's very much an experimental city.
I'm not sure if it's because I'm older and I'm thinking about family more, but I'm trying to set up this thing where I can play in one city for a month, and then write music for a couple months, then play in another city for a month, write music for a month. Just so it's not these two schizophrenic, Jekyll and Hyde kind of things; you don't have to be this monster. You get inspired and you can go write one song from that, and then you go back and play a few shows. If I could've done that in the 90s, I would have.
You can’t say ‘if this didn’t happen then that would have happened’ because you don’t know everything that might have happened. You might think something’d be good, but for all you know it could have turned out horrible. You can’t say ‘If only I’d…’ because you could be wishing for anything. The point is, you’ll never know. You’ve gone past. So there’s no use thinking about it.
I'm never interested in writing a kind of neutral, universal novel that could be set anywhere. To me, the novel is a local thing.
The few times I've tried to write original screenplays, it's a difficult process because I just don't feel like I know the characters the way I know them after the year or two it takes to write a novel.
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