A Quote by Peter Bichsel

I wanted to write a novel. At 12 I knew, I am a writer. I said it to nobody. — © Peter Bichsel
I wanted to write a novel. At 12 I knew, I am a writer. I said it to nobody.
When I write a novel, I am God at my own typewriter, and there is nobody in between. But when I write a screenplay, it must be a compromise because there are so many elements which are outside the writer's province.
I grew up in a little town with about 6,000 or 7,000 people. I always knew from 11 or 12 years old that I wanted to be a writer, and I always wanted to write about growing up in a place like that that's small and you don't fit into.
I don't think I knew I would be a writer. I wanted to become a writer, and I tried to write.
I knew I was a writer; I wanted to be a writer, but I didn't know what to write.
It was only after two years' work that it occurred to me that I was a writer. I had no particular expectation that the novel would ever be published, because it was sort of a mess. It was only when I found myself writing things I didn't realise I knew that I said, 'I'm a writer now.' The novel had become an incentive to deeper thinking. That's really what writing is—an intense form of thought.
One of my big revelations was that nobody cares whether you write your novel or not. They want you to be happy. Your parents want you to have health insurance. Your friends want you to be a good friend. But everyone’s thinking about their own problems and nobody wakes up in the morning thinking, ‘Boy, I sure hope Sam finishes that chapter and gets one step closer to his dream of being a working writer.’ Nobody does that. If you want to write, it has to come from you. If you don’t want to write, that’s great. Go do something else. That was a very liberating moment for me.
I am a writer, which means I write stories, I write novels, and I would write poetry if I knew how to. I don't want to limit myself.
My father was a frustrated writer. I think he wanted to write the great American novel.
I always knew that I wanted to be an actor. I made my debut on stage when I was 12, and I was sure that this is what made me happy. However, nobody takes a 12-year-old's career choice seriously. Everybody laughed it off. I also ran away from it, but acting eventually found me.
I am practical by nature, and I'd heard that being a writer or an artist is a good way to starve! So I was an economics major at Oklahoma State, and then received an M.S. from Cornell in Agricultural Resource and Managerial Economics. I knew if I wanted to write I would do it on my own, but I knew I wouldn't make myself study economics on my own.
When I first began to write fiction, I didn't think I was a comic writer; I thought I was a serious writer. I was surprised when the first novel I wrote was regarded as a funny novel.
I wanted to write a book about two women falling in love that wasn't hinged on tragedy or that involved some horrible identity-based misfortune. I wanted to write a pretty standard romantic comedy where nobody dies, nobody gets hurt, nobody gets sick.
Often, you have to fail as a writer before you write that bestselling novel or ground-breaking memoir. If you're failing as a writer - which it definitely feels like when you're struggling to write regularly or can't seem to earn a living as a freelance writer - maybe you need to take a long-term perspective.
I wanted to write a novel where the meaning is in the story and characters and the subliminal, in the shades and nuances. It's exciting to develop that as a writer.
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.
With 'Nostromo', Joseph Conrad said that he had wanted to write a novel about the degradation of an idea. That's what we wanted to show in the case of Dustin Hoffman's character, Bernstein.
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