A Quote by Peter Straub

Many fiction writers eventually want to feel that their work forms a single, unified entity. — © Peter Straub
Many fiction writers eventually want to feel that their work forms a single, unified entity.
I don't believe that fiction is dead. I know there are some people who believe that it's an outdated art form, and that to express truth today you need to work in different forms, to write books where it's perhaps not clear what's fiction and what's memoir. I have nothing against those books and love many of them very much. But we have enough space for everyone, traditional realists and hybrid writers, and experimental writers all.
I am conscious of trying to stretch the boundaries of non-fiction writing. It's always surprised me how little attention many non-fiction writers pay to the formal aspects of their work.
We're trying to make something that lasts in language and there's no question that many fiction writers began as poets and it's hard for me to think of any good fiction writers who don't also read poetry.
Writers who want to interfere with adaptations of their work are basically undemocratic. The book still stands as an entity on its own.
Being goal-oriented instead of self-oriented is crucial. I know so many people who want to be writers. But let me tell you, they really don't want to be writers. They want to have been writers. They wish they had a book in print. They don't want to go through the work of getting the damn book out. There is a huge difference.
I feel a terrible loss when I (eventually must) complete a work of fiction.
The fiction I've written and published is certainly inflected by the work of authors I was reading or translating at the time. One of my methods for developing my own voice in fiction, a process I am taking very slowly and deliberately, is through these very intense encounters with certain writers. Strength and power in fiction is being able to resist these intoxicating voices, recognizing that they are the signatures of other writers and not one's own.
Many people who want to be writers don't really want to be writers. They want to have been writers. They wish they had a book in print.
There are many other writers whose work I admire tremendously, but none whose work struck me at just the right young age. Jack Vance taught me that speculative fiction, science fiction, could be wonderfully and liberatingly stylistic. It didn't have to be pulp stuff. He really changed my writing and my view of science fiction, so if nothing else, my little homage to him in the novelette I wrote for that anthology is my thank-you to him. He helped me see that any genre can have excellent writing in it.
I lay off a lot modern fiction and only rely on living writers for non-fiction work.
I think the deepest thing is that many fiction writers tell stories but are not elegant writers. But, we're not writing journalism when we're making literature.
I'd rather let the fiction speak for itself and I don't want to write fiction that tells people how to feel, and I don't want to be judgmental in the fiction.
I think it comes in cycles for Brandy [Burre] and for many women. You want to take care of your home, making it as good as possible for your kids and for yourself, and then eventually you feel trapped and you want to break out of that. You want to be someone else and you want the world to look at you as something else. Eventually, you come back again. The cycles are very much a part of her life.
Many fiction writers write for the critics or for themselves; they forget the common reader. I never do. I don't think journalism clashes with my fiction; on the contrary, it helps enormously.
I think there's this essential human desire to have a unified field theory. Everyone is like, 'I want to unlock the single secret to 'Lost.' There isn't any one secret. There is not a unified field theory for 'Lost,' nor do we think there should be, because philosophically, we don't buy into that as a conceit.
It's true of so many fiction writers that I much prefer the essayistic work they did, whether it's David Foster Wallace's, or John Cheever's, or Nathaniel Hawthorne's.
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