A Quote by Nicole Krauss

I think of novels as houses. You live in them over the course of a long period, both as a reader and as a writer. — © Nicole Krauss
I think of novels as houses. You live in them over the course of a long period, both as a reader and as a writer.
We tend to overestimate what we can do in a short period, and underestimate what we can do over a long period, provided we work slowly and consistently. Anthony Trollope, the nineteenth-century writer who managed to be a prolific novelist while also revolutionizing the British postal system, observed, “A small daily task, if it be really daily, will beat the labours of a spasmodic Hercules.” Over the long run, the unglamorous habit of frequency fosters both productivity and creativity.
I've always been a little bit more of a novel reader than a short story reader. I think the first books that made me want to be a writer were novels.
I've always been charmed by houses, and descriptions of them are prominent in my novels. So prominent, in fact, that my editor once pointed out to me that all of my early novels had houses on the covers.
For me, an ideal novel is a dialogue between writer and reader, both a collaborative experience and an intimate exchange of emotions and ideas. The reader just might be the most powerful tool in a writer's arsenal.
That underscored this idea that when we're reading a book or writing a book, you're in an act of co-creation. The reader and the writer are both trying to dress up and present their best selves and then there's that moment, when suddenly, as a reader, you're not exactly you anymore, and likewise, as a writer, you're not really you.
'Presumed Innocent' was written over a six to seven year period with intervals in between where I was figuring out the end of the book and writing other stuff... My life as a writer was carried on against the odds. I had written four unpublished novels by then... as a writer of fiction, I hadn't gotten very far. I just wanted to do it.
It is easier for the reader to judge, by a thousand times, than for the writer to invent. The writer must summon his Idea out of nowhere, and his characters out of nothing, and catch words as they fly, and nail them to the page. The reader has something to go by and somewhere to start from, given to him freely and with great generosity by the writer. And still the reader feels free to find fault.
Novels are my favorite to write and read. I do like writing personal essays, too. I'm not really a short story writer, nor do I tend to gravitate to them as a reader.
I tend to think that the onus is on the writer to engage the reader, that the reader should not be expected to need the writer, that the writer has to prove it. All that stuff might add up to a kind of fun in the work. I like things that are about interesting subjects, which sounds self-evident.
I don't think the relationship between novels and realities are one to one. Of course novels play different roles. It's essentially just a long narrative form. What you use that long narrative form for can be very different.
As soon as I start to write I'm very aware, I'm trying to be aware that a reader just might well pick up this poem, a stranger. So when I'm writing - and I think that this is important for all writers - I'm trying to be a writer and a reader back and forth. I write two lines or three lines. I will immediately stop and turn into a reader instead of a writer, and I'll read those lines as if I had never seen them before and as if I had never written them.
In that way, any world you create will become real. The reader makes it so. The reader becomes implicated in the creation of the world, complicit with the writer. It's the best sort of bond with audience that a writer can hope for, but it demands a great deal of trust on both sides.
I have always been immersed in a world filled with words, earlier as a reader and now, finally, as both a reader and a writer.
[In the moment of reading writer and reader] are both briefly their best selves, or at least better selves. A flawed human being writes something and 60 years later a reader picks up the book and something in them rises to meet it.
I had a long period of writing what I think of as 'save the world' novels. 'Fledgling' was a chance to play.
I do consider myself a Norwegian writer, or a Scandinavian writer, as my family tree reaches into both Denmark and Sweden. I don't think about it, of course, when I am writing.
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