A Quote by Darren Boyd
I'm an avid reader myself, and what any one reader accesses at any one time is very powerful and personal to them. Clearly you can't even begin to touch that. A novel is a singular vision, and then a myriad of readers have their own experience of that.
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I think art, especially literature, has the particular power to immerse the viewer or reader into another world. This is especially powerful in literature, when a reader lives the experience of the characters. So if the characters are human and real enough, then readers will feel empathy for them.
The book is finished by the reader. A good novel should invite the reader in and let the reader participate in the creative experience and bring their own life experiences to it, interpret with their own individual life experiences. Every reader gets something different from a book and every reader, in a sense, completes it in a different way.
A novel is not a play. A novel takes one reader at a time into its confidence. It can be shockingly personal. Private, even.
For me, an ideal novel is a dialogue between writer and reader, both a collaborative experience and an intimate exchange of emotions and ideas. The reader just might be the most powerful tool in a writer's arsenal.
Another reason I think the novel will survive is that the reader has to work in a novel. In a film, you are presented with someone else's imagination exactly bodied out. The marvelous thing about a novel is that every reader will imagine even the very simplest sentence slightly differently.
Making reality real is art's responsibility. It is a practical assignment, then, a self-assignment: to achieve, by a cultivated sensitivity for observing life, a capacity for receiving impressions, a lonely, unremitting, unaided, unaidable vision, and transferring this vision without distortion to it onto the pages of a novel, where, if the reader is so persuaded, it will turn into the reader's illusion.
Only a very specific kind of writer keeps their reader in mind while working. Such writers don't want to irk their readers; they don't want to challenge their readers; they want to produce exactly what their reader expects them to produce. I'm not like that.
A reader's own imagination is a far more powerful form of CGI than anything any movie can provide because it's unique. In your own imagination, you can enter all sorts of worlds, and they are unique to you because no other reader will interpret a book the same way.
You never want to be in a position where your reader feels like you're passing judgment on your own characters. Any novel where you feel like the author is talking to the reader over the characters' heads is in a bad place.
My readers have to work with me to create the experience. They have to bring their imaginations to the story. No one sees a book in the same way, no one sees the characters the same way. As a reader you imagine them in your own mind. So, together, as author and reader, we have both created the story.
I have a total responsibility to the reader. The reader has to trust me and never feel betrayed. There's a double standard between writers and readers. Readers can be unfaithful to writers anytime they like, but writers must never ever be unfaithful to the readers. And it's appropriate, because the writer is getting paid and the reader isn't.
I would be a liar, a hypocrite, or a fool - and I'm not any of those - to say that I don't write for the reader. I do. But for the reader who hears, who really will work at it, going behind what I seem to say. So I write for myself and that reader who will pay the dues.
The novel that an author writes is often not the novel that the reader reads, and most of the 'messages' in a novel are put there by the reader. There's nothing wrong with that, of course. That's how literature functions.
Compose aloud: poetry is a sound. Never explain- your reader is as smart as you. Your reader is not just any reader, but is the rare one with ears in his head.
If Fobbit leaves a reader feeling stranded in some bland in-between territory, then I haven't done my job. But having said all that, I didn't consciously write the book with a particular moral intent. I took what I experienced and processed it through the sausage factory of fiction. It's up to readers to interpret what's on the page - as is the case with any novel.
My influence is probably more from American crime writers than any Europeans. And I hardly read any Scandinavian crime before I started writing myself. I wasn't a great crime reader to begin with.
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