A Quote by Nicholas Royle
The idea that a student can write a sonnet or a novel without having a sound understanding about its history, and where it fits into literature as a whole, seems to me to be manifestly daft.
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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.
You can't beat a good sonnet, and you can write a sonnet without being married to the damned thing.
There is no objection to the proposal: in order to learn to be a poet, I shall try to write a sonnet. But the thing you must try to write, when you do so, is a real sonnet, and not a practice sonnet.
When you get an idea, so many things come in that one moment. You could write the sound of that idea, or the sound of the room it's in. You could write the clothes the character is wearing, what they're saying, how they move, what they look like. Instead of making up, you're actually catching an idea, for a story, characters, place, and mood - all the stuff that comes. When you put a sound to something and it's wrong, it's so obvious. When it's right, the whole is greater than the sum of the parts. That's a magical thing that can happen in cinema.
The age of the book is not over. No way... But maybe the age of some books is over. People say to me sometimes 'Steve, are you ever going to write a straight novel, a serious novel' and by that they mean a novel about college professors who are having impotence problems or something like that. And I have to say those things just don't interest me. Why? I don't know. But it took me about twenty years to get over that question, and not be kind of ashamed about what I do, of the books I write.
I would like to write a novel, or at least try to write one, although my motives are not entirely pure. For one thing, I get asked about writing novels so much that I feel guilty about never having written one. And although I have no strong desire to write a novel, I would hate not to try. That would just be silly. On the other hand, I hate the idea of slogging through something that turns out to be not good.
The true self seeks release, not constraint. It doesn't want to be corseted in a sonnet or made to learn a system of musical notations. It wants liberation, which is why very often it fastens on the novel, for the novel seems spacious, undefined, free.
The true self seeks release, not constraint. It doesnt want to be corseted in a sonnet or made to learn a system of musical notations. It wants liberation, which is why very often it fastens on the novel, for the novel seems spacious, undefined, free.
I had wanted to write 'The Possessed' as fiction, but everyone told me that no one would read a novel about graduate students. It seems almost uncivilized to tell someone writing a novel, 'No, you have to call this a memoir.'
You can write about a country without taking a stand, but you cannot write about a country without noting that there's history, and that there's politics going on. To me, that's the same if you write about America. You don't have to write about politics, but the politics have to be present in the characters.
a novel is not born of a single idea. The stories I've tried to write from one idea, no matter how terrific an idea, have sputtered out and died by chapter three. For me, novels have invariably come from a complex of ideas that in the beginning seemed to bear no relation to each other, but in the unconscious began mysteriously to merge and grow. Ideas for a novel are like the strong guy lines of a spider web. Without them the silken web cannot be spun.
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.
It has always seemed to me that if you could talk about your work in fully-formed phrases, you wouldn't write it. The writing is the statement, you see, and it seems to me that the poem or the story or the novel you write is the kind of metaphor you cast on life.
The fun thing about song writing is that it's just creative. It can be whatever you want it to be. For me, I'm really protective of that. I'm not going to write something because I feel like it fits here or it fits there - I just want to write music that feels good to me.
The fun thing about song writing is that it's just creative. It can be whatever you want it to be. For me, I'm really protective of that. I'm not going to write something because I feel like it fits here or it fits there - I just want to write music that feels good to me, you know?
My life has had a lot of fits and starts: before I studied literature at all I was a musician, and began undergrad as a conservatory student. I started studying literature in my third year of college, when I took a poetry course with James Longenbach that was pretty extraordinary. It changed my life.
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