English writing tends to fall into two categories - the big, baggy epic novel or the fairly controlled, tidy novel. For a long time, I was a fan of the big, baggy novel, but there's definitely an advantage to having a little bit more control.
Interpretation
Writing can be broadly classified into epic and controlled styles, each with its own strengths.
Zadie Smith highlights the dichotomy in English writing, distinguishing between expansive, sprawling narratives and more structured, concise storytelling. While she once favored the free-flowing nature of epic novels, she acknowledges the merits of maintaining control in writing, suggesting that both styles have their place in literature.
In practice
In a writing workshop, to illustrate the importance of control in storytelling.
Because immigrants have always been particularly prone to repetition - it's something to do with that experience of moving from West to East or East to West or from island to island. Even when you arrive, you're still going back and forth; your children are going round and round. There's no proper term for it - original sin seems too harsh; maybe original trauma would be better.
You know, you don't expect everyone to be as educated as everyone else or have the same achievements, but you expect at least to be offered at least some of the opportunities, and libraries are the most simple and the most open way to give people access to books.
He did not consider if or how or why he loved them. They were just love: they were the first evidence he ever had of love, and they would be the last confirmation of love when everything else fell away.
We cannot be all the writers all the time. We can only be who we are. Which leads me to my second point: writers do not write what they want, they write what they can.
I think of reading like a balanced diet; if your sentences are too baggy, too baroque, cut back on fatty Foster Wallace, say, and pick up Kafka as roughage.
I never attended a creative writing class in my life. I have a horror of them.
And okay, fair enough, but there is this unwritten contract between author and reader and I think not ending your book kind of violates that contract.
Fiction and essays can create empathy for the theoretical stranger.
No one who had ever seen Catherine Morland in her infancy, would have supposed her born to be a heroine... But from fifteen to seventeen she was in training for a heroine.
I love it when novels contain a broad cast of characters, including queer ones.
All novels are fantasies. Some are more honest about it.
There are events which are so great that if a writer has participated in them his obligation is to write truly rather than assume the presumption of altering them with invention.
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