In journalism, a fact is just a fact. But in fiction, you have to build your case. It has to be made, step by step.
There are those who write because they believe they have something so marvelous that it will make them famous and wealthy, a lauded commodity who will be invited to a lifetime of cocktail parties.
Interpretation
What this quote means
The quote discusses the motivations behind writing, contrasting the desire for fame and wealth with the true essence of creativity.
Edward P. Jones highlights a common motivation among writers: the aspiration for fame and material success. He critiques the notion that writing should be pursued solely for external validation or financial gain, suggesting instead that genuine creativity and artistic expression are more valuable than becoming a celebrated figure in social circles. The quote reflects a tension between commercial success and authentic artistic purpose.
Themes
In practice
Example use cases
This quote can be used in a creative writing workshop to inspire aspiring authors to write for passion rather than recognition.
More from Edward P. Jones
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It's true that none of my characters are admirable. But maybe I'm primarily a satirist, and a satirist needs to hold up what's not admirable.
I can't think of a single one of my plays that does not represent a coincidence between an external and an internal event. Something outside of me, outside even my own life, something I read in a newspaper or witness on the street, something I see or hear, fascinates me. I see it for its dramatic potential.
The importance of an artist is to be measured by the quantity of new signs which he has introduced to the language of art.
I think all art comes out of conflict. When I write I am always looking for the dramatic kernel of an event, the junctures of people's lives when they go in one direction, not another.
But I'd be lying if I didn't say that every time you go to make a film, you're desperate to either do it better than you did it last time or to not repeat yourself.
The skyscrapers began to rise again, frailly massive, elegantly utilitarian, images in their grace, audacity and inconclusiveness, of the whole character of the people who produces them.