A Quote by Patrick Rothfuss
I'm obsessive. That's the word for me. I obsess - perhaps to the point where it's moderately dysfunctional. I tend to put a book through about 100 revisions. If anything, that's an understatement. If there's another author out there who does this sort of revision, I would really like to meet him. Maybe we could form some sort of support group.
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One of the things my success as an author has forced me to face is how dysfunctional... Maybe that's a strong word, but how obsessive I am.
I could worry about pretty much anything you put in front of me, so I'm not actually sort of anti-technology. So it doesn't sort of come out of that. It's not like a fear of the future. It's a fear of everything.
Mostly, I believe an artist doesn't create something, but is there to sort through, to show, to point out what already exists, to put it into form and sometimes reformulate it.... I didn't invent anything, I indicated.
Adaptation is always the same process for me, which is some version of throwing the book at the wall and seeing what pages fall out. It is trying to imagine, remember the story, read it, put it down, and then write sort of an outline without the book in front of you with some hope that what you like about it will be filtered and distilled out through your memory and then that will be similar to what other people like about it.
You know, I think I did originally have some sort of idea of maybe a Where Eagles Dare kind of mission against impossible odds, but it really sort of died before I had a chance to really go anywhere with it, and then just doing the book was out of the question.
I don't think it's anything you ever get used to... for many years, I could never sort of put my name in the same sort of category as the word 'famous' or anything like that. And I just found it very uncomfortable... if you get used to it, then something must be wrong.
Oh how I wish I could be as obsessive as Carrie from 'Homeland' when I'm writing a book! That would save me a lot of trouble during the revision process.
Piper leaned toward [Jason], her caramel braid falling over her shoulder. Her multicolored eyes made it hard for him to think straight. “And where is this place?” she asked. “A . . . uh, a town called Split.” “Split.” She smelled really good—like blooming honeysuckle. “Um, yeah.” Jason wondered if Piper was working some sort of Aphrodite magic on him—like maybe every time he mentioned Reyna’s name, she would befuddle him so much he couldn’t think about anything but Piper. He supposed it wasn’t the worst sort of revenge.
I didn't know enough as a writer to understand why I needed to do this, but I understood in a very gut way that I could not entertain those thoughts of pleasing people and write this book - that it would be a very different book. Without really sort of investigating that instinct, which I'm glad for, I just made a conscious decision to put blinders on and not think about anything and put it all in. And I did. I put everything in. I had to look at the whole picture to see what I needed.
I have had quite a few obsessive fans. They write to me and then they turn up at signings and look really sheepish. If I said 'boo' to them, they would run away. I think they maybe believe I could take over their lives and sort them out. If they saw the state of my kitchen they wouldn't think that.
There was a kind of infiniteness to fiction that I found sort of... disconcerting. I remember having these really panicky thoughts, like, 'I can make this person say anything. I could make him do anything! I could put a jetpack onto his back and shoot him into space!' I don't like this feeling of having no rules.
I think Iran deal is on life support, I'll put it that way, but I'm not here to declare one way or the other where it will go. But I do believe it's on life support. I know the president-elect does not like the Iran deal, thinks it's really, really bad. And that's sort of the starting point on that discussion.
The movie that we could've finished in 2001 would've sucked. The movie that we could've finished in 2002 would've just been a disaster, even into 2003, it would've been very cobbled together, amateuristic stuff. But as we went along, we really did stumble upon some accidental themes, and with the things you could do with computers, and all that sort of stuff just sort of really accelerated into where the stuff that we could do right here at my house became - you could almost do anything.
If I like a book, I tend to read the author's entire collection. But I choose mainly through personal recommendations, general word of mouth and book reviews.
It's bizarre: sometimes I go through periods where I really want to put a song up online, and sometimes I'm sort of busy with other things... It's very much a hobby, that kind of thing. I sort of post it more for maybe my mom's benefit, and suddenly she says, 'It's got 50,000 views.' And I think maybe I should've put it as private.
I wanted to write a book about poverty that wasn't only about the poor. I was looking for some sort of narrative device, a phenomenon that would allow me to draw in a lot of different players. I was like, 'Shoot, eviction does that.'
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