A Quote by Nelson Algren
I've always felt strongly that a writer shouldn't be engaged with other writers, or with people who make books, or even with people who read them. I think the farther away you get from the literary traffic, the closer you are to sources. I mean, a writer doesn't really live; he observes.
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Oh, I love labels, as long as they are numerous. I'm an American writer. I'm a Nigerian writer. I'm a Nigerian American writer. I'm an African writer. I'm a Yoruba writer. I'm an African American writer. I'm a writer who's been strongly influenced by European precedents. I'm a writer who feels very close to literary practice in India - which I go to quite often - and to writers over there.
The people who review my books, generally, are kind of youngish culture writers who aspire to write books. When someone writes a book review, they obviously already self-identify as a writer. I mean, they are. They're writers, they're critics, and they're writing about a book about a writer who's a critic. So I think it's really hard for people to distance themselves from what they're criticizing.
Read a lot. But read as a writer, to see how other writers are doing it. And make your knowledge of literature in English as deep and broad as you can. In workshops, writers are often told to read what is being written now, but if that is all you read, you are limiting yourself. You need to get a good overall sense of English literary history, so you can write out of that knowledge.
It's not a problem to be surrounded by other writers if that's the craft that you're doing. I suppose if you get obsessed with the notion of being a writer more than the writing itself, that would be bad. But I live near really smart, thoughtful people who take writing very seriously, and I can meet them for breakfast and talk books.
I may be the person who put "dieselpunk" into the conversation. I have always been a reader who reads in a really broad way. I read genre writers and I read literary fiction and I read books by dead people.
I've never really felt that being part of a literary community is all that important. It can be extremely detrimental to a writer. It can damage successful writers by giving them an exalted sense of what they've done, and it can crush less successful writers by infecting them with envy and malice at an early stage in their careers.
I always send new writers to 'Writer's Digest Books' line-up of how-to books. I read them all when I was starting out, and they were very helpful.
Musically, I'm always gonna take it a little farther, and Lord willing, people are gonna get that and understand that: that there's not really one genre I'm trying to be in, but just as a producer, as a writer, as an artist, that I'm planning on going farther.
It feels as though a very disproportionate number of main characters are writers, because that's what the writer knows. Fair enough. But nothing bothers me more in a movie than an actor playing a writer, and you just know he's not a writer. Writers recognize other writers. Ethan Hawke is too hot to be a writer.
I mean, we have to read books or we'll make mistakes. If we read stories of how other people lived, we can figure out better ways to live. I mean we can look at other people's lives and not make the same mistakes they made. Or we can, like, use their examples as models for ourselves.
People ask me, 'What do you do?' And I tell them I'm a writer, but always with the silent reservation, 'I am, of course, not really a writer. Hemingway was a writer.'
Being a writer in Iceland, you get rewarded all the time: People really do read our books, and they have opinions; they love them, or they hate them. At the average Christmas party, people push politics and the Kardashians aside and discuss literature.
I can write any kind of novel I want, any time, and sell it, but there's not that many people watching it. Even a low-rated TV show is a couple million more people than read my books. You want to be read, in essence. If you're a television writer, you're a writer and you want people to read your stuff. You're still reaching a bigger audience, that way. That's a philosophical way to look at it.
When someone writes a book review, they obviously already self-identify as a writer. I mean, they are. They're writers, they're critics, and they're writing about a book about a writer who's a critic. So I think it's really hard for people to distance themselves from what they're criticizing.
Other people get into occupations by accident or design; but writers are born. I could work at selling motels, or slopping hogs, for fifty years, but if someone asked my occupation, I'd say writer, even if I'd never sold a word. Writers write. Other people talk.
It's not possible to advise a young writer because every young writer is so different. You might say, "Read," but a writer can read too much and be paralyzed. Or, "Don't read, don't think, just write," and the result could be a mountain of drivel. If you're going to be a writer you'll probably take a lot of wrong turns and then one day just end up writing something you have to write, then getting it better and better just because you want it to be better, and even when you get old and think, "There must be something else people do," you won't be able to quit.
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