A Quote by Samanta Schweblin
For me, even in the most subtle and introspective story, it's all about tension: this is the thread that ties a reader to story, something in the rhythm and in the argument that hypnotizes and pushes us to read with great attention. As a reader, I love the storytellers who play with this, and as a writer it is something I always look for.
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As a reader, when the writer gets sentimental, you drift, because there's something fishy going on there. You recognize a moment that's largely about the writer and the writer's own need to believe in something that might not in fact exist. As a reader, you think, 'Where did the story go? Where did the person I'm reading about go?'
I am always considering the reader. Although this is admittedly kind of odd: Which reader? On what day? In what mood? For me, that "reader" is actually just me, if I had never read the story before.
Knowing that a story needs to be told is a great motivator, even if telling a given story comes at a price. Writing Hunger has been the most difficult writing of my life, and it's the rawest and perhaps most necessary. We'll see how people take it. I always strive to write beyond personal catharsis because though I write first and foremost for myself, I do recognize that I need to look outward as much if not more than I look inward, so the reader has something with which they can engage.
Two kinds of reading can be distinguished. I call them reading like a reader and reading like a writer ... when you read like a reader, you identify with the characters in the story. The story is what you learn about. When you read like a writer, you identify with the author and learn about writing.
One of the ways in which writers most show their inventiveness is in the things they tell us about how they write. Generally speaking, I don't like to make a plan before I've written a story. I find it kills the story - deadens it, makes it uninteresting. Unless I'm surprised by something in a story, the reader's not going to be surprised either.
I've always been a little bit more of a novel reader than a short story reader. I think the first books that made me want to be a writer were novels.
I'm a writer because I love reading. I love the conversation between a reader and a writer, and that it all takes place in a book-sort of a neutral ground. A writer puts down the words, and a reader interprets the words, and every reader will read a book differently. I love that.
On a more technical level, a story takes a lot of words. And to generate words and phrases and images and so on, that will compel the reader to continue reading - that stand a chance of really grabbing a reader - the writer has to work out of a place of, let's say, familiarity and affection. The matrix of the story has to be made out of stuff the writer really knows about and likes. The writer can't be stretching and (purely) inventing all the time. Well, I can't, anyway.
You have very short travel blogs, and I think there's a split among travel writers: the service-oriented writers will say, 'Well, the reader wants to read about his trip, not yours.' Whereas I say, the reader just wants to read a good story and to maybe learn something.
We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life "outside" the story changes the story.
We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life 'outside' the story changes the story.
It is easier for the reader to judge, by a thousand times, than for the writer to invent. The writer must summon his Idea out of nowhere, and his characters out of nothing, and catch words as they fly, and nail them to the page. The reader has something to go by and somewhere to start from, given to him freely and with great generosity by the writer. And still the reader feels free to find fault.
I think there has to be an empathic strike between the reader and the protagonist. There has to be something said or known that connects the reader to this person you're going to ride through the story with.
Literature taught me that I wasn't alone, that I could become a writer if I worked at it, that my story mattered. Whether a young reader becomes a writer or not, they deserve to know that their story, whatever it may be, is important.
The basic rule [of writing] given us was simple and heartbreaking. A story to be effective had to convey something from the writer to the reader, and the power of its offering was the measure of its excellence. Outside of that, there were no rules.
my crime books are actually novels and are written as such. One might even say that each one is really two novels, one of which is the story I tell the reader, and the other the buried story I know and let slip now and then into a clue to whet the reader's interest.
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