A Quote by Rachel Kushner

I think sometimes writers can get themselves into trouble trying to exert a totally controlled and super-knowing tone. This kind of knowingness is not the most promising tone to be sustained throughout a novel, to have a young woman who understands everybody and is always reading a room perfectly.
If a writer is always trying to keep a narrator emitting a tone of complete knowingness, it can become false.
Sometimes, in certain stories, I think we know at the outset essentially what the tone is going to be, or it becomes important that we're groping toward some kind of story with a certain kind of tone that we both get somehow. But I don't think how that's combined with other elements is ever in any way overtly discussed.
I just see many, many untruthful things. I see tone, the word tone. The tone is such hatred. I'm really not a bad person, by the way.The tone is such - I do get good ratings, you have to admit that.
In order to produce learned fear, you take a neutral stimulus like a tone, and you pair it with an electrical shock. Tone, shock. Tone, shock. So the animal learns that the tone is bad news. But you can also do the opposite - shock it at other times, but never when the tone comes on.
I think in reading a few sentences of text you can just tell the tone, and that's something I love in prose writers.
I feel there are tone singers, and there are more vocal gymnastics singers. And I think that's amazing when people can do that, but I think there's room for the tone singers. And there aren't a lot of them.
I think when you work with people who are super exceptional, there's simplicity to it because everybody is on the same page in terms of tone.
Yeah, I mean, I think I'm obsessed with tone in the movies. Tone has always been the main thing that I go after with a movie.
With the black and white films, one was concerned with tone... You had to make sure that the tone of your dress was not the same tone as the curtains, for instance.
I think, in reading a few sentences of text, you can just tell the tone, and that's something I love in prose writers but in lyricists as well.
The intellectual attainments of a man who thinks for himself resemble a fine painting, where the light and shade are correct, the tone sustained, the colour perfectly hamonized; it is true to life.
Oddly enough, white is a dead tone in a small room. Choosing something with a more medium tone will make the space feel larger.
I'll just say that I made my own explorations of tone by listening to a tone for a long time until I began to understand what my sensations were, what my mind was doing with tone.
I've always been a fan of comedy, and I understood from a young age that what makes most comedy work is the immediacy of first person experience. I'd spent a lot of time from 1995-1998 focusing almost exclusively on poetry, and it's an incredibly difficult form in which to achieve a sustained comic tone unless you're Alexander Pope.
Metaphorical tone deafness is when people are unable to discern what is of value in something. I think I'm tone deaf to poetry, for instance. Despite having studied it into a second year of university, most of it just leaves me cold.
Tone is somewhat totalising in that, once I locate it, it tells me what kind of syntax to use, what word choices to make, how much white space to leave on the page, what sentence length, what the rhythmic patterning will be. If I can't find the tone, I sometimes try narrating through the point of view of someone else.
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