A Quote by Louise Mensch

I'm not embarrassed about the novels I wrote when I was younger, but I couldn't write them today because of my religion. — © Louise Mensch
I'm not embarrassed about the novels I wrote when I was younger, but I couldn't write them today because of my religion.
"Only write what you know" is very good advice. I do my best to stick to it. I wrote about gods and dreams and America because I knew about them. And I wrote about what it's like to wander into Faerie because I knew about that. I wrote about living underneath London because I knew about that too. And I put people into the stories because I knew them: the ones with pumpkins for heads, and the serial killers with eyes for teeth, and the little chocolate people filled with raspberry cream and the rest of them.
My friends never talk to me about my poetry because they're embarrassed that I write it or they're embarrassed by what I write about which are not such extraordinarily terrifying things, but they are the state of human existence.
The one concession I've made as I've gotten older is that my children are now adults and they're in their twenties and thirties and so I'm careful about how I write about them. I may write about them as a child, but I'm not going to write about their current struggles because they're adults and they can do it for themselves. I want to give them some space in a way I didn't when they were younger.
At Princeton I wrote my junior paper on Virginia Woolf, and for my senior thesis I wrote on Samuel Beckett. I wrote some about "Between the Acts" and "Mrs. Dalloway'' but mostly about "To the Lighthouse." With Beckett I focused, perversely, on his novels, "Molloy," "Malone Dies," and "The Unnamable." That's when I decided I should never write again.
I had novels to write, so I wrote them.
I'm remembering one book that I wrote, 'Fourth Grade Rats,' that took a month to write, but most of them, full-length novels, I would say about a year.
I was writing all my childhood. And I wrote two novels when I was 17, which were terrible. And I'm not sorry I threw them out. So, I wrote. I had to write. You know, the thing was, I had no education.
I wrote my first two long novels and an anthology of short narratives, when I was a manager of my own jazz bar. There was not enough time to write and I didn't know how to write novels. Therefore, I made written collages of aphorisms and rags.
I write my novels personally, desperately and non-negligently. When I write my novels, I think about my novels only, and never do other works.
Take any writer you want in the 19th century: they wrote with quill pens, dipping a piece of goose feather in ink and writing. And yet we read those novels today, and if we're sensitive to them, we respond to them with an immediacy that is stronger than anything written today on a word processor.
I write what I want to write. Period. I don't write novels-for-hire using media tie-in characters, I don't write suspense novels or thrillers. I write horror. And if no one wants to buy my books, I'll just keep writing them until they do sell--and get a job at Taco Bell in the meantime.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
I haven't always felt it was okay to read romance novels. When I was younger, it embarrassed me to be seen with my books, but I've come out of the closet.
I am trying to write novels for properly clever people, but I also want them to be proper novels that also stick in a person's mind and have an atmosphere about them.
Back in my 20s, when I wrote 'A Place of Greater Safety,' the French Revolution novel, I thought, 'I'll always have to write historical novels because I can't do plots.'' But in the six years of writing that novel, I actually learned to write, to invent things.
Back in my 20s, when I wrote 'A Place of Greater Safety,' the French Revolution novel, I thought, 'I'll always have to write historical novels because I can't do plots.' But in the six years of writing that novel, I actually learned to write, to invent things.
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