A Quote by Vladimir Nabokov

You can always count on a murderer for a fancy prose style. — © Vladimir Nabokov
You can always count on a murderer for a fancy prose style.
I won't be attempting to write Jane Austen-style prose - that would be suicidal. But I will attempt to bring the highest level of my own prose, and to make it sparkle.
I try to find a style that matches the book. In the Baroque Cycle, I got infected with the prose style of the late 17th and early 18th centuries, which is my favorite era. It's recent enough that it is easy to read - easier than Elizabethan English - but it's pre-Victorian and so doesn't have the pomposity that is often a problem with 19th-century English prose. It is earthy and direct and frequently hilarious.
Not everything that counts can be counted. You can count sales. You can count fans and followers. You can count pins and tweets. But you can't count passion. You can't count commitment. You can't count engagement. You can't count relationships.
I decided that I would be one of the biggest new names; and I actually had some little fancy business cards printed up to announce it, 'Count Basie. Beware, the Count is Here.'
I am a pretty omnivoracious reader in respect to prose style, but if the prose doesn't have its own music, if the relationship to the sentence seems unconsidered or superficial, I have a really hard time reading the work.
Poetry has an indirect way of hinting at things. Poetry is feminine. Prose is masculine. Prose, the very structure of it, is logical; poetry is basically illogical. Prose has to be clear-cut; poetry has to be vague - that's its beauty, its quality. Prose simply says what it says; poetry says many things. Prose is needed in the day-to-day world, in the marketplace. But whenever something of the heart has to be said, prose is always found inadequate - one has to fall back to poetry.
Good style in prose is always hostage to the precision, speed, and laconic intensity of poetic diction.
The newspaper is, in fact, very bad for one's prose style. That's why I gravitated towards feature stories where you get a little more leeway in the writing style.
Probably the best way to describe my writing style is to refer you to "purple prose", which was a tag given to the early mass market magazine writers earning a half cent a word for their fiction. They had to use every adjective, verb and adverb in the English language to add word count to stories in order to feed and support families.
The judge who sits over the murderer and looks into his face, and at one moment recognizes all the emotions and potentialities and possibilities of the murderer in his own soul and hears the murderer's voice as his own, is at the next moment one and indivisible as the judge, and scuttles back into the shell of his cultivated self and does his duty and condemns the murderer to death.
I have always tended toward a lush prose style, but I take care to modulate it from story to story and to strip it down entirely when necessary.
Good prose almost always requires both showing and telling, scenes and summary, the two basic components of creative prose.
I don't like no fancy chords. Just the boogie. The drive. The feeling. A lot of people play fancy but they don't have no style. It's a deep feeling-you just can't stop listening to that sad blues sound. My sound.
Organization charts and fancy titles count for next to nothing.
Count your blessings. Every time I am doing bad I count my blessings. And I always lose count. Try that sometime.
It's true that at the time I was fond of Kurt Vonnegut and Richard Brautigan, and it was from them that I learned about this kind of simple, swift-paced style, but the main reason for the style of my first novel is that I simply did not have the time to write sustained prose.
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