Novel-writing is, for the novelist, a game of let's pretend.
Interpretation
Novel-writing involves imagination and creativity, akin to playing a game of make-believe.
Philip Roth suggests that writing novels is a creative act that requires a sense of imagination and the ability to envision different scenarios and characters, much like children play games where they pretend to be someone else. This playful approach is essential for novelists as they craft their narratives and explore human experiences through fiction.
In practice
In a writing workshop, to encourage students, one could say, 'Remember, novel-writing is just a game of let's pretend.'
American society [...] not only sanctions gross and unfair relations among men, but it encourages them. Now, can that be denied? No. Rivalry, competition, envy, jealousy, all that is malignant in human character is nourished by the system. Possession, money, property--on such corrupt standards as these do you people measure happiness and success.
I have a slogan I use when I get anxious writing, which happens quite a bit: ‘the ordeal is part of the commitment.’ It’s one of my mantras. It makes a lot of things doable.
Everybody who flashed the signs of loyalty he took to be loyal. Everybody who flashed the signs of intelligence he took to be intelligent. And so he had failed to see into his daughter, failed to see into his wife, failed to see into his one and only mistress—probably had never even begun to see into himself
When you publish a book, it's the world's book. The world edits it.
It isn't that you subordinate your ideas to the force of the facts in autobiography but that you construct a sequence of stories to bind up the facts with a persuasive hypothesis that unravels your history's meaning.
That's what you're looking for as a writer when you're working. You're looking for your own freedom. To lose your inhibition to delve deep into your memory and experiences and life and then to find the prose that will persuade the reader.
Sometimes I sound like gravel, and sometimes I sound like coffee and cream.
You see something, then it clicks with something else, and it will make a story. But you never know when it's going to happen.
My feeling is that poetry is also a healing process, and then when a person tries to write poetry with depth or beauty, he will find himself guided along paths which will heal him, and this is more important, actually, than any of the poetry he writes.
At Vienna, one of the audience affirmed publicly that my performance was not surprising, for he had distinctly seen, while I was playing my variations, the devil at my elbow, directing my arm and guiding my bow. My resemblance to the devil was a proof of my origin.
It is true that the poet does not directly address his neighbors; but he does address a great congress of persons who dwell at the back of his mind, a congress of all those who have taught him and whom he has admired; they constitute his ideal audience and his better self.
The artist brain is the sensory brain: sight and sound, smell and taste, touch. These are the elements of magic, and magic is the elemental stuff of art. In filling the well, think magic. Think delight. Think fun. Do not think duty. Do not do what you should do-spiritual sit-ups like reading a dull but recommended critical text. Do what intrigues you, explore what interests you; think mystery, not mastery.
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