A Quote by Veronica Roth
'Divergent' was my utopian world. I mean, that wasn't the plan. I never even set out to write dystopian fiction, that's just what I had when I was finished. At the beginning, I was just writing about a place I found interesting and a character with a compelling story, and as I began to build the world, I realized that it was my utopia.
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I never start out with any kind of connecting theme or plan. Everything just falls the way it falls. I don't ever think about what kind of fiction I write or what I am writing about or what I am trying to write about. When I'm writing, what I do is I think about a story that I want to tell.
I had a student once come up to me and we were talking about this incident, and, of course, I never had the right thing to say. But later on, I realized I should have said: Don't write about trying to change the world, just write about a changed world or a world that's not changing. Let that do the work.
I started seriously applying myself to writing fiction immediately after I finished graduate school. By 'seriously,' I mean that, instead of noodling along on a story, finishing it or not as the mood struck me, I set out to complete what I started, to polish it to the best of my ability, and to send out the finished story.
Utopia is a meta-utopia: the environment in which Utopian experiments may be tried out; the environment in which people are free to do their own thing; the environment which must, to a great extent, be realized first if more particular Utopian visions are to be realized stably.
Maybe I'm perverse, but the question of "rooting" for a character, or setting out to write a character for whom other people will root, has never had anything to do with why I read or write fiction. As long as the writing and story remain alive, intense, invigorating, provoking, the characters can be as demonic or saintly as the author wants.
I was aware that you weren't supposed to write about suburbia, that it was undignified in some way, the subject matter not momentous enough. And so, for a long time, that kept me from writing about it. But once I began, I realized it was just as interesting as anywhere else.
Its a heartening fact about the human race that utopian fiction precedes dystopian fiction in the evolution of literature.
It's a heartening fact about the human race that utopian fiction precedes dystopian fiction in the evolution of literature.
The story drove the book. That had a very seminal effect on the way I saw writing and storytelling. If you can set a character in a story that is compelling and has a backbone, you draw people in.
I realized Michael was right. I mean, I am always writing in this journal. And I do compose a lot of poetry, and write a lot of notes and emails and stuff. I mean, I feel like I am always writing. I do it so much, I never even thought about it as a talent. It's just something I do all the time, like breathing.
I don't want to write poems that are just really clear about how I'm aware of all the traps involved in writing poetry; I don't want to write fiction that's about the irresponsibility of writing fiction and I've thrown out a lot of writing that I think was ultimately tainted by that kind of self-awareness.
I could never write about the sort of people John Cheever or John Updike or even Margaret Atwood write about. I don't mean I couldn't write as well as they do, which of course I couldn't; they're great writers, and I'm no writer at all. But I couldn't even write badly about normal, neurotic people. I don't know that world from the inside. That's just not my orientation.
It's funny - for a long time, I didn't know I was writing a book. I was writing stories. For me, each story took so long and took so much out of me, that when I finished it, I was like, Oh my gosh, I feel like I've poured everything from myself into this, and then I'd get depressed for a week. And then once I was ready to write a new story, I would want to write about something that was completely different, so I would search for a totally different character with a different set of circumstances.
I had to write something and couldn't think of a plot, so I decided to write a Cinderella story because it already had a plot! Then, when I thought about Cinderella's character, I realized that she was too much of a goody-two-shoes for me, and I would hate her before I finished ten pages.
If the point of life is the same as the point of a story, the point of life is character transformation. If I got any comfort as I set out on my first story, it was that in nearly every story, the protagonist is transformed. He's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. If the character doesn't change, the story hasn't happened yet. And if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another.
I started writing morning pages just to keep my hand in, you know, just because I was a writer and I didn't know what else to do but write. And then one day as I was writing, a character came sort of strolling in and I realized, Oh my God, I don't have to be just a screenwriter. I can write novels.
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