A Quote by Susan Vreeland

Readers would email me and say, 'Please write a novel about so-and-so,' but it has to come from yourself and not so much from your readership. — © Susan Vreeland
Readers would email me and say, 'Please write a novel about so-and-so,' but it has to come from yourself and not so much from your readership.
When I get about five readers I can rub together in one genre, I leave that genre and go somewhere else. And this is due to a vow that I made myself when I started writing - that if I had any success at all, I would not be bound to one form of writing. That I would write what moves me. The only way I can see me surviving and doing more than one book is to present the readers with a Dan Simmons novel, with whatever tropes and protocols from whatever genre I want to borrow them. If that builds a Dan Simmons readership, well then, okay. Otherwise, forget about it. I'd rather drive a truck.
It's disingenous for me to say that I wasn't trying to write a moral novel. By its very nature as a novel about the Iraq War, Fobbit steps into the political conversation. There's no way to avoid that. I can appreciate that readers are probably going to line up on one side of the novel or the other. I hope they go to those polar extremes, actually.
Thank your readers and the critics who praise you, and then ignore them. Write for the most intelligent, wittiest, wisest audience in the universe: Write to please yourself.
When you write a novel, there’s a level at which you are much more revealing about who you are because you’re less self-conscious about how you’re presenting yourself. You are accidentally leaving your DNA all over everything in a novel because it’s all coming from you.
The age of the book is not over. No way... But maybe the age of some books is over. People say to me sometimes 'Steve, are you ever going to write a straight novel, a serious novel' and by that they mean a novel about college professors who are having impotence problems or something like that. And I have to say those things just don't interest me. Why? I don't know. But it took me about twenty years to get over that question, and not be kind of ashamed about what I do, of the books I write.
I'm interested in the Gothic novel because it's very much a woman's form. Why is there such a wide readership for books that essentially say, 'Your husband is trying to kill you'?
I would like to write a novel, or at least try to write one, although my motives are not entirely pure. For one thing, I get asked about writing novels so much that I feel guilty about never having written one. And although I have no strong desire to write a novel, I would hate not to try. That would just be silly. On the other hand, I hate the idea of slogging through something that turns out to be not good.
There are many people who say, 'I write for myself.' I think that if you write and publish, then you write for your readers, not just for yourself. Many writers say that they write to be loved. I place myself among those writers.
There are many people who say, I write for myself. I think that if you write and publish, then you write for your readers, not just for yourself. Many writers say that they write to be loved. I place myself among those writers.
It's so much easier to write for a person in your life than to write for some imagined readership, so you write something that's more intimate and true.
I don't think about the reader in any conscious way that impacts the writing, as far as, Hey, most readers would like this! But at the same time, if it were presented to me: "John, you're going to write a novel. It's going to take you a few years. When you're done with it, there's a law that no one's allowed to read it." I don't think I would write it. I want someone to read it!
I would say that in my black readership, more of my readers tolerate the horror aspect of my work, you know. 'I don't usually read this kind of stuff, but.'
No other serial publications carry a number on them that is of any weight to their readership. The number is there to serve a function, but it has no intrinsic value in and of itself. It's comfort food and nostalgia at best. On this, we follow what you and your fellow readers do more than what you say. We hear complaints about renumbering every time we do it, but every time we do it it results in higher sales, which is the whole ballgame - so if it were your time and your effort, what would you do?
I want to say that I can be Moroccan and speak about someone without speaking about his nationality. Because, you know, I have the feeling that when you come from Morocco, when you come from Afghanistan, when you come from Africa, Occidental people always wait for you to write a novel about identity.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
Let's not talk about it any more, but if you still want anything please write to me about it, because I can say what I mean much better on paper.
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