A Quote by Carl Hiaasen
Everybody's idea of a great book is different, of course. For me it's one that makes my jaw drop on every page, the writing is so original.
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I've discovered over the years that being subject to both the adoration and the vilification actually makes me more disciplined. It makes me understand that it's the idea of writing a great book that propels me now, whereas it used to be the idea of success.
Originality is also very important to a writer. And all of the writers I've mentioned, of course, are original, but it's important to me that every book that I do be really a completely fresh and new look at the world. And of course, that makes it frightening to start a new book because you can't really depend upon what you've done with previous books.
I like the idea that every page in every book can have a gem on it. It's probably what I love most about writing - that words can be used in a way that's like a child playing in a sandpit, rearranging things, swapping them around.
Most of the books that I've adapted I'm doing because I love the book and I feel like it's a great work of art in itself, and when it's a great book I feel as a director or a writer that I have a responsibility to rise to the level of the original. It makes me try to reach higher.
I want to wake up one morning and know how to write page one, or page 10, or page 250. But I never seem to know how to do it. Every book is different and takes a different structure, style, process, etc. And relearning how to write is where the insanity comes from.
Age, style, where you come from, where you were born, it's different every time, which, to me, is refreshing because it says that there isn't any one thing, one formula or kind of character that makes a great comedian. Everybody has had a different approach.
My ideal is a book that is perfect on every page, that gives you tremendous aesthetic joy on every page. I suppose I am trying to write such a book.
If it bothers me on the page, I don't do it. If it attracts me on the page and moves me, makes me think a bit, makes me laugh, makes me cry, I'm interested in it. If it's there on the page, it means it's there and up to me to bring it out. I have done some films along the way that have been screwed up and not as good as they read. Some films that are not that good on the page turn into good movies. So I'm fallible is what I'm saying.
Writing a book is like an unknown abyss, every time. Every book is different. Contrary to what unpublished writers think, it's horrible to have a book out.
If reading makes you smart then how come when you read a book they have to put the title of the book on the top of every single page? Does anyone get halfway through a book, What the hell am I reading?
Sometime during the 1990s, when I was teaching philosophy at UCSD, my friend, colleague, and music teacher, Carol Plantamura, discussed the possibility of teaching a course together looking at ways in which various literary works (plays, stories, novels) had been treated as operas, and how different themes emerged in the opera and in its original. One of the pairings we planned to use was Mann's great novella and Britten's opera. Unfortunately, the course was never taught, but the idea remained with me.
For me, a lot of Discipline was very personal writing, like writing through and working out being inside this gendered body and also the compulsions of the body, the muting of the mind as driven by the body. My father had died some years ago so he haunts the book too, just floats through it ghost-like. But, the writing of every book is different for me. They are so like living creatures, these books, so I don't know what's carried over into the writing of the next things - except maybe that I'm best when I make my writing practice a routine.
Even with an assignment, I take over, I find a freedom and make the idea my own, and that's where you get the sense that the essays become something very different than the original subject. Assignments are great, though - they test your mettle, your spirit and resilience. All of sudden you drop in, you don't know anything, you're vulnerable and available.
When you're writing for the Internet, you have the analytics, and you know that people are bailing every second. But various people kept reminding me that once people have bought a book, they're in. You don't have to be selling them on every page.
I remember looking at James Joyce's journals. It was just amazing - it looked like ants had written on the page. So much writing on one page, every corner of the page was filled. Some of the lines were underlined in yellow or blue or red. A lot of color, intense writing.
I have a lot of friends, in and out of golf, and there is a mutual trust. I'm very serious at the course. Maybe if I joked around more around the press tent, your image of me would be different. But that's not me. And the golf course is my office. If I come up to you when you're writing a story, are you going to drop everything to talk? Or are you going to say you're too busy doing your job?
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