A Quote by Nic Pizzolatto
I grew up in a working-class Catholic family in south Louisiana. I went to a state university. I taught literature, wrote a novel that was the novel I wanted to write, and got a couple of good reviews but no real traction. I had no idea how to get a job in TV.
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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.
I grew up thinking, 'You go to university, you get your degree, you get a job, you get married and then you have a family.' But when I got to the point in my life where I had all those things, and was looking to start a family, I was miserable. I realised I didn't want kids.
You can't have a novel without real, believable people, and once you get into either too theoretical a novel or too philosophical a novel, you get into the dangers that the French novel has discovered in the past 50 or 60 years. And you get into a sort of aridity. No, you have to have real, identifiable people to whom the reader reacts in a way as if they were real people.
I always was interested in prose. As a teenager, I published short stories. And I always wanted to write the long short story, I wanted to write a novel. Now that I have attained, shall I say, a respectable age, and have had experiences, I feel much more interested in prose, in the novel. I feel that in a novel, for example, you can get in toothbrushes and all the paraphernalia that one finds in dally life, and I find this more difficult in poetry.
For my part, the good novel of character is the novel I can always pick up; but the good novel of incident is the novel I can never lay down.
I was a huge fan of J. Courtney Sullivan's novel 'Maine,' and like that novel, 'Saint' is a family saga set in Boston. Irish Catholic family secrets - is there anything better?
I always wanted to write. While I was on a long surf trip, supporting myself with various day jobs, I was working hard on a novel. My third novel, in fact.
For a Jewish Puritan of the middle class, the novel is serious, the novel is work, the novel is conscientious application why, the novel is practically the retail business all over again.
I belong to the middle class that grew up very influenced by the Catholic church. The people of the novel are from a more pagan and practical world in which the Christianity is just a veneer.
My fifth-grade teacher, Mrs. Poppy, had us each write a 'novel,' whatever that meant to us. It must have been 10 pages long, and we bound it and colored the front. And she wrote on mine, 'I can't wait till your real novel comes out. Give me a call.'
I grew up with this idea that songwriters had a great job. My family was Irish Catholic, so if you became a priest or a songwriter, you were golden.
I grew up with a single mom who was a waitress. We were on food stamps. My mom then got Pell Grants, put herself through college to get a degree to get a better job. Because we were broke, I then had to go to a state school. I went to Temple University, and had to get loans. So I grew up in a world where I saw the government helping individuals pull themselves up, and saw it work very successfully.
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.
To write a novel may be pure pleasure. To live a novel presents certain difficulties. As for reading a novel, I do my best to get out of it.
From the beginning [of the Lincoln in the Bardo], I actually had it in mind not to write a novel. I'd kind of gotten past that point where I felt bad for never having written a novel, even to where I felt really good about it, like I was a real purist.
I weave the company into what we laughingly call 'Jack's novel.' I write this novel for them about who they are and what's going on in their world. When I had 90 people in 'Porgy and Bess,' each had a story, history and family relationship.
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