A Quote by Rick Moody

Nonfiction that uses novelistic devices and strategies to shape the work. That's material that I really like. — © Rick Moody
Nonfiction that uses novelistic devices and strategies to shape the work. That's material that I really like.
One of underestimated tasks in nonfiction writing is to impose narrative shape on an unwieldy mass of material.
Fiction stymies me with its possibility. I can't see the bottom and I freeze, cling to the side, or just choke. In nonfiction, particularly that which takes personal narrative for its primary topic, I have a finite space and a finite amount of material. I can't fabricate material, I can only shape and burrow into it.
There is certainly no want of journalistic ambition among the purveyors of what is now called 'long-form,' nor of novelistic technique brought to bear on nonfiction, nor of outrage.
I think the process is one of using the camera and sound in the way a detective uses a magnifying glass: to find the clues. They're discovery devices, not performance devices - you're watching things the way a cat does. You're not judging. You're there to witness something.
It is true that the trees are for human use. But these are aesthetic uses as well as commercial uses-uses for the spiritual wealth of all, as well as the material wealth of some.
Number one, I am somebody who is in shape before I get pregnant. I get in pregnant shape because it's not my normal shape, obviously. I get bigger when I'm pregnant. But I stay in pregnant shape and I work really hard to be really strong and keep my circulation going.
I think, about the distinction between fiction and nonfiction. Fiction is not really about anything: it is what it is. But nonfiction - and you see this particularly with something like the BBC Samuel Johnson Prize for Non-Fiction - nonfiction we define in relation to what it's about. So, Stalingrad by Antony Beevor. It's "about" Stalingrad. Or, here's a book by Claire Tomalin: it's "about" Charles Dickens.
I usually see the word "metafiction" applied to works that draw attention to their own devices, their own artificiality, in order to mock novelistic convention and show the impossibility of capturing a reality external to the text or whatever.
Tarantino's movies are smartly intoxicating cocktails of rampage and meditation; they're in-your-face, with a mac-10 machine pistol and a quote from the Old Testament. They blend U.S. and European styles of filmmaking; they bring novelistic devices to the movie mall.
The novelistic attribute of my work is very much like the Russian way of creating novels. Tolstoy, Dostoyevsky - their work has so many gaps. But for the reader, you cannot erase those gaps because they are important. They contextualize the whole struggle. My cinema is like that.
We still go to nonfiction for content. And if it's well-written, that's a bonus. But we don't often talk about the nonfiction work of art. That's what I'm very interested in.
I still audition a lot and work really hard to get work. So I don't really walk around feeling like I've made it. My short term goals are really just to be creatively stimulated and to be excited about material I might be working on.
I didn’t like it [computer] when I first began using it. Where it’s helped me a lot is in nonfiction which is a kind of different process. You’ve got research, you’ve got your notes, You can block out what you want to work on for the next 10 pages and put it in another file, and then you can kind of carve it into shape
The soul is the form of the body, but not as the shape of a statue is formatio et terminatio materiae, for form does not exist apart from material. There is no whiteness without a white object. But the soul is not a form in this simple sense, and in particular, is not the shape of the material it informs. Therefore, the shape of a being does not affect the being's soul, for then something lower would inform something higher, which is impossible.
The best adaptations are the ones that really excavate the material. The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing and put it into a story.
I don't get sick of being naked, but the added pressure is staying in really good shape, because naked shape is a different kind of shape than just regular TV shape. Regular, having-your-clothes-on TV shape is intense, but naked TV shape is, I mean, you really have to watch what you eat.
This site uses cookies to ensure you get the best experience. More info...
Got it!