A Quote by Rachel Kushner

I don't start with a list of historical scenes that I want to include in the book. At a certain point, the narrative totally takes over, and everything that I include I can only incorporate if it answers to the internal terms of the novel.
When you're adapting a novel, there are always scenes taken out of the book, and no matter which scenes they are, it's always someone's favorite. As a screenwriter, you realize, 'Well, it doesn't work if you include everyone's favorite scenes.'
A novel takes place over time. It's a historical narrative, and it needs to have a series of peaks and valleys and the move through. You can't just start at the highest pitch and stay there, but you can in a lyric poem.
Keep a diary, but don't just list all the things you did during the day. Pick one incident and write it up as a brief vignette. Give it color, include quotes and dialogue, shape it like a story with a beginning, middle and end—as if it were a short story or an episode in a novel. It's great practice. Do this while figuring out what you want to write a book about. The book may even emerge from within this running diary.
I was highly aware, in writing [the book] ROOM, that there are unsavoury aspects to our interest in such cases, and I thought it was rather honester to include discussion of media representation in the novel itself than to cling to the high moral ground by merely avoiding scenes of voyeurism, for instance.
Is there deeply embedded change within our industry? And I would say, as a black filmmaker, it's easy for me to focus my attention on black work, but true change would include brown work, and it would include work by Asian-Americans, and it would include natives, and it would include women, and it would include more LGBTQ voices.
Communist propaganda would sometimes include statements such as "we include almost all the commandments of the Gospel in our ideology". The difference is that the Gospel asks all this to be achieved through love, through self-limitation, but socialism only uses coercion. This is one point.
Writers of historical fiction are often faced with a problem: if they include real-life people, how do they ensure that their make-believe world isn't dwarfed by truth? The question loomed large as I began reading 'The Black Tower', Louis Bayard's third foray into historical fiction and fifth novel overall.
I'd prefer to include sex scenes alongside the adventure scenes and everyday-life scenes, as if they were all part of the same thing. Which of course they are. Sex is not discrete from the rest of our existence.
It would be unthinkable to have a top-ten list of multiple narrative novels that doesn't include David Mitchell. 'Cloud Atlas' is the most obvious choice, but I have opted for Mitchell's slightly lesser known debut, 'Ghostwritten.'
It's not so unusual for me to have a week of meetings that includes not only my employees, not only my customers, not only media, but could also include principals of local K-12 schools; it could include non-governmental organizations or nonprofit organizations or members of the community.
The best bit of novel writing is being allowed to write exactly what you want at the speed that you want, and to include as many different people and places and times as you want, working with pretty much only one person, the editor, whose job it is to get it in good shape for publication.
Writing a novel is an incredibly free experience. One puts one's self in a narrative mode. You can go off in any direction - the past, the future, or go laterally, or include one's own beliefs. It's total freedom.
I'm not entirely sure what a historical novel absolutely has to be, but you don't want a reader who loves a very traditional historical novel to go in with the expectation that this is going to deliver the same kind of reading experience. I think what's contemporary about my book has something to do with how condensed things are.
A police procedural novel can be even funnier if the police include Trolls and Dwarves and things like that. You start looking at the whole basis of the cop novel. You get the cop moving in a different way when you've actually set it in a fantasy city.
When we were working on 'Taxi to the Dark Side,' we would purposefully not show it to certain people in the cutting room, because we would include a lot of horrible material and would need a fresh pespective. They would look at us and say, 'Are you out of your minds? You can't include that!'
I had always wanted to include images in a novel, and with my first book, 'Telex From Cuba,' I made an elaborate website that is basically all images.
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