A Quote by Richard Laymon

In a sense, all fiction is experimental. Every new book is an adventure into unknown territory. As Hemingway told us, you (the writer) have to go out beyond where you have gone before.
It is like a voyage of discovery into unknown lands, seeking not for new territory but for new knowledge. It should appeal to those with a good sense of adventure.
I loved adventure movies. I loved movies where people went on an adventure to an unknown land, an undiscovered country, or a new territory. I think there's something, right at the center of storytelling, that people love about that.
Each book, intuitively sensed and, in the case of fiction, intuitively worked out, stands on what has gone before, and grows out of it. I feel that at any stage of my literary career it could have been said that the last book contained all the others.
We're not afraid of risking what was our success yesterday in order to explore some new field. We're adventurous. We like the challenge of unknown territory, unknown artistic field, and that's what stimulates us.
I think all of us begin as writers. I wanted to be a writer from the time I as eight, long before I heard of jazz. The question is, once you have that obsession, what is your subject going to be and you often don't know for some time. It might become fiction, it might be non-fiction, and if it's non-fiction it can go in any number of directions.
Each book, intuitively sensed and, in the case of fiction, intuitively worked out, stands on what has gone before, and grows out of it.
Give us some separate territory in this country where our people can go and do something for ourselves. And provide us with everything that we need to keep that new territory going, until we are self-sufficient.
Because I'm such a creative person, and I've always got my nose in a book, I suppose it was only a matter of time before non-fiction turned into fiction again. But I never consciously set out to become a writer and I never thought I'd be doing the things I'm doing today.
I don't teach literature from my perspective as 'Joyce Carol Oates.' I try to teach fiction from the perspective of each writer. If I'm teaching a story by Hemingway, my endeavor is to present the story that Hemingway wrote in its fullest realization.
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 Contrary to what unpublished writers think, it's horrible to have a book out.
Every famous writer was once an unknown writer. If publishers never published new writers, they wouldn't be publishing anyone at all after a while.
Before my book, 'California,' came out, I had modest hopes for it. Or, let's put it this way - I had the same hopes that every literary fiction writer in America has: I wanted the novel to be well-received, critically. As for sales? I didn't want it to disappoint, but I didn't expect it to be a best-seller, either.
People have invoked the ghost of Hemingway quite a few times in writing about the book. I could get into sticky territory here if I let myself go on about this subject. The more I hear it, the more it rankles, frankly.
You know the known, so go a little into the unknown. The mind that is caught up in the known - extended a little beyond reason. The moment you go beyond , you move in the soul. Releasing the bondage of your mind to extend further, reach the unknown a little more. The further you go, you realize that the known is limited and the unknown is vast.
Most of what I want to try to do is continue to go places with fiction that I've never gone before, and tell stories I've never told before, and one of the problems you rapidly discover about fans is what fans want is the last thing they liked. They want more of that.
I started out of course with Hemingway when I learned how to write. Until I realized Hemingway doesn't have a sense of humor. He never has anything funny in his stories.
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