A Quote by Mark Haddon
I think the U.K. is too small to write about from within it and still make it seem foreign and exotic and interesting.
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But, Christ, there's a difference between exotic and foreign, isn't there? Exotic means you know how to use your foreignness, or you make yourself a little foreign in order to appear exotic. Real foreign is a little scary, believe me.
Exotic novelty. My statement to [people] is always, well, set this picture in your home town, is it still an interesting picture? Or is it just exotic? Would I care about this same picture minus its exoticism?
My writing is called exotic or avant-garde because I write about rural places. Has it really come to this, that if you write about the country you are avant-garde? How did this happen? Modern agriculture and spaces are still so relevant.
I think of poetry as a very inclusive term. Still, it's interesting that people want to make the distinction. I love the magazine Double Room for that reason (contributors have to write about their ideas on the prose poem/flash fiction).
It's easier for me to write certain character types because of my own life experiences, but I find it too artistically limiting to only write about red-headed kids who grew up in small town Montana. That's really part of the fun of fantasy, I think. Our imagination is basically unlimited. Okay, that's a terrifying thing about fantasy, too.
I don't write because I think I have anything particularly interesting to say. I write because I love writing more than any other work I've done. I do think about entertaining the reader to the extent that I try always to write a book that I myself would want to read, but I don't think it's up for me to decide if what I've written is interesting to others. That is entirely up to others.
Stories about mental aberration and oddity only make sense in context. Just how do people live with someone who is peculiar, gifted, strange or alien? It's odd because there's a little part of me that wants to write about exotic, strange bizarre subjects. Instead, I've rather reluctantly realised that what I write about is families.
Nothing is better for a young journalist than to go and write about something that other people don't know about. If you can afford to send yourself to some foreign part, I still think that's by far the best way to break in
Nothing is better for a young journalist than to go and write about something that other people don't know about. If you can afford to send yourself to some foreign part, I still think that's by far the best way to break in.
All can hear that still small voice within. Try it. Be still and know that the I AM within you is God, the Beloved. Listen... then live by it.
Now, I testify it is a small voice. It whispers, not shouts. And so you must be very quiet inside. That is why you may wisely fast when you want to listen. And that is why you will listen best when you feel, "Father, thy will, not mine, be done." You will have a feeling of "I want what you want." Then, the still small voice will seem as if it pierces you. It may make your bones to quake. More often it will make your heart burn within you, again softly, but with a burning which will lift and reassure.
Mainly, I try not to think about my readers as I write - I just think of my characters and myself - If they're interesting to me, my hope is that they'll be interesting to others as well.
It makes me a bit sad that, if anything, that people seem to want to go back to an old model of normality, and sitcoms seem to want to be about ordinary families and things that aren't very interesting. I just think it's a bit sad. It's a shame that life is still depicted in a very straight way.
Don't write about what you know - write about what you're interested in. Don't write about yourself - you aren't as interesting as you think.
There is a lot of stuff I write that makes it seem like my intention is to make people think I'm speaking about myself entirely, and it is my intention to make people think that, but that doesn't necessarily mean that's what it is.
I think everything you are, everything that engages you, eventually comes to bear on the novel you write. I think the creative energy in novel writing, obviously, comes from tension. From trying to fuse. From trying to make coherent disparate things that might not at all seem to belong together within a narrative.
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