There's an old saying: 'No piece of writing is ever finished, it's just abandoned.' But my own rule is: No piece of work is done until you want to kill everyone involved in the publishing process, especially yourself.
Chuck PalahniukRead
What I'm always trying to do with every book is to recreate the effect of the stories we heard as children in front of campfires and fireplaces - the ghost stories that engaged us.
Interpretation
The quote emphasizes the author's desire to evoke childhood nostalgia and engagement through storytelling, similar to the way ghost stories captivated listeners around a fire.
In this quote, Chuck Palahniuk expresses his intention as an author to recreate the enchanting atmosphere of storytelling experiences from childhood. He highlights the power of stories told in intimate settings, like around campfires, where the shared experience of suspense and imagination deeply engage the audience, similar to the ghost stories that held us spellbound in our youth.
In practice
This quote can be used in a workshop on creative writing to inspire authors.
There's an old saying: 'No piece of writing is ever finished, it's just abandoned.' But my own rule is: No piece of work is done until you want to kill everyone involved in the publishing process, especially yourself.
Griping isn't the same as creating something. Rebelling isn't rebuilding. Ridiculing isn't replacing. We've taken the world apart but we have no idea what to do with the pieces.
If we can forgive what’s been done to us... If we can forgive what we’ve done to others... If we can leave all of our stories behind. Our being villains or victims. Only then can we maybe rescue the world.
We're all trapped. It's always 1734. All of us, we're stuck in the same time capsule, the same as those television shows where the same people are marooned on the same desert island for thirty seasons and never age or escape. They just wear more makeup. In a creepy way, those shows are maybe too authentic.
One thing I really envy about my friends who have kids is that as their children develop, they're able to revisit their own developmental stages and recognise themselves and undo a lot of things they decided.
If you knew that your life was merely a phase or short, short segment of your entire existence, how would you live? Knowing nothing 'real' was at risk, what would you do? You'd live a gigantic, bold, fun, dazzling life. You know you would. That's what the ghosts want us to do - all the exciting things they no longer can.
Dress designing, incidentally, is to me not a profession but an art.
When I was 18 and not sure whether I wanted to be an actor, I realised that a playwright has no voice without an actor. That's my reason for acting: to get that character as right as possible for my writer. And I have never changed my philosophy.
You may choose your words like a connoisseur, And polish it up with art, But the word that sways, and stirs, and stays, Is the word that comes from the heart.
As an actor, the second and last ones were interesting for me. Because those parts had the most change in playing someone who was both light and dark, sort of Jekyl and Hyde.
As nearly as possible in the spirit of Matthew Salinger, age one, urging a luncheon companion to accept a cool lima bean, I urge my editor, mentor and (heaven help him) closest friend, William Shawn, genius domus of The New Yorker, lover of the long shot, protector of the unprolific, defender of the hopelessly flamboyant, most unreasonably modest of born great artist-editors to accept this pretty skimpy-looking book.
In Britten or Berg, there's a tension between the sweet and the sour, between the familiar and the unfamiliar, the tonal and the atonal, the happy and the sad. That, to me, is what all western art is about - that tension. It's why we want to say anything at all.
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