A Quote by Nicole Krauss
Part of the work of writing a novel is to uncover the symmetries or connections that make it whole, which might not reveal itself at first.
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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.
"Pieces" almost always appear 'as parts' in whole processes. ... To sever a "'part" from the organized whole in which it occurs-whether it itself be a subsidiary whole or an "element"-is a very real process usually involving alterations in that "part". Modifications of a part frequently involve changes elsewhere in the whole itself. Nor is the nature of these alterations arbitrary, for they too are determined by whole-conditions.
It's more like I write multiple first drafts, handwritten. So with my first novel, I wrote whole drafts from different points of view. There are different versions of that novel in a drawer on loose-leaf sheets. I won't even look at the first draft while I'm writing the second, and I won't look at the second before writing the third.
The lessons learned in journalism also apply. Writing for NPR has taught me to cut a piece in half and then in half again - without losing the essence. Apply that to the swollen prose of a bulky novel and you might reveal a beautiful work.
The central purpose of the Work that Reconnects is to help people uncover and experience their innate connections with each other and with the systemic, self-healing powers of the web of life, so that they may be enlivened and motivated to play their part in creating a sustainable civilization.
Symmetries are the playing field on which the physical world works and which determine the rules of the game. The symmetries of nature determine for us things that remain constant, that can't be changed. Those are the guideposts in physics, the quantities like energy and momentum.
I was a lot dumber when I was writing the novel. I felt like worse of a writer because I wrote many of the short stories in one sitting or over maybe three days, and they didn't change that much. There weren't many, many drafts. That made me feel semi-brilliant and part of a magical process. Writing the novel wasn't like that. I would come home every day from my office and say, "Well, I still really like the story, I just wish it was better written." At that point, I didn't realize I was writing a first draft. And the first draft was the hardest part.
In writing 'The Satanic Verses,' I think I was writing for the first time from the whole of myself. The English part, the Indian part. The part of me that loves London, and the part that longs for Bombay. And at my typewriter, alone, I could indulge this.
The Memorial Finder covers the gap. It tells you the specific panel and number where you can find an individual but begins to reveal the connections between the names themselves. As you move around the site itself, a smartphone app will reveal adjacencies as well as the stories behind the names.
I'm very secretive. I'll write a whole novel and revise it, which might take me two years or more, and the people I know best don't know what I'm writing about.
Writing fiction is for me a fraught business, an occasion of daily dread for at least the first half of the novel, and sometimes all the way through. The work process is totally different from writing nonfiction. You have to sit down every day and make it up.
When I'm writing a novel or doing other serious writing work, I do it on a schedule that dictates writing either 2,000 words a day or writing until noon. After I hit whichever mark comes first, then I can give my attention to everything else I have to do.
The writing of a novel is taking life as it already exists, not to report it but to make an object, toward the end that the finished work might contain this life inside it and offer it to the reader. The essence will not be, of course, the same thing as the raw material; it is not even of the same family of things. The novel is something that never was before and will not be again.
With memoir, you have the clay of your life to work with. When you're writing a novel, you have to make the clay first.
I kept going back while I was writing the novel - which never sold, may it rest in peace - and by the time it was finished I had too many connections to Haiti to walk away.
After my first novel, my mother said to me, 'Why don't you make your writing more funny? You're so funny in person.' Because my first novel was rather dark. And I don't know, but something about what she said was true. 'Yes, why don't I?' Maybe I was afraid to be funny in the writing. But since then, seven books later, almost everything I've done has a comedic edge to it.
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