As a reader and a writer, I'm happiest when apparently mutually exclusive states can somehow coexist.
Jennifer EganRead
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As a reader and a writer, I'm happiest when apparently mutually exclusive states can somehow coexist.
I think people read travel books either because they intend to take that trip, or because they would never take that trip. In a sense, as a writer you are doing the travel for the reader.
I can think of no other writer who so thoroughly embodies the Jamesian spirit as Alison Lurie. Like him she can excavate all the possibilities of a theme. Like his, her books seem long, unbroken threads, seamless progressions of effects.
I'm either going to be a writer or a bum.
I was a little press writer when the National Endowment for the Arts came to my rescue and gave me an award. I couldn't buy a light bulb. Almost more than the money, the awards are important because they show that someone believes in you.
Humor has to surprise us; otherwise, it isn't funny. It's a death knell for a writer to be labeled a humorist because then it's not a surprise anymore.
I always knew I was a writer. And I always thought to myself, 'Well, why not me?' Someone has to be on the best-seller list, 'Why not me?' Someone has to write for the 'New Yorker,' 'Why not me?' And I didn't really get much positive reinforcement as a kid, so I thought, 'Well let me show you what I can do.'
In Hollywood, they think they know it all. You, as a writer, are essentially an outsider. Novelists and short-story writers, especially.
I'm not a writer on a mission, and I'm very suspicious of writers on missions, but I'm also not living a false life.
When I was in college at UCLA, I took a playwriting course. I was all set to be a writer. But I had to take this acting class as a theater arts major. I had to do this scene in a one-act comedy. I just said this line, and then... this laugh happened. I thought, 'Whoa. This is a really good feeling. What have I been missing?'
If you appear in the 'Atlantic' or 'Harper's' or the 'New Yorker,' by God, you must be a writer, because everybody says so.
Creative non-fiction is such a liberating genre because it allows the non-fiction writer, whether he or she be journalist or essayist, to use all of the techniques of the fiction writer and all of the ideas, creative approaches, that fiction writers get a chance to use, but they have to use it in a true story.
A writer wants something more than money for his work: he wants permanence.
When you're learning, especially to write, unless you're some incredibly gifted writer, a young Malcom Gladwell, say, you need to be imitating people. You need to be imitating how they make their work, how they structure it, how they design the pieces. It gives you chops; it gives you moves.
I think I would have been a totally different kind of writer if I'd gone to England. I might have developed a cynicism about my origins, a belittling of them, or an excessive nostalgia for them.
All the definitions people want to put on you in terms of what kind of writer you are come with hidden meanings. If you're writing science fiction, you're writing rocket ships. If you write dystopian fiction, it's inequity where The Man must be fought.
To be a writer you have to be out in the world, you have to risk yourself in the world, you have to be immersed in the world, you have to go out looking for it. This becomes harder as you get older because there's less energy, the days are shorter for older people and it's not so easy to go out and immerse oneself in the world outside.
One of the things I had to learn as a writer was to trust the act of writing. To put myself in the position of writing to find out what I was writing. I did that with 'World's Fair,' as with all of them. The inventions of the book come as discoveries.
I made a conscious decision that I was not going to have children. I didn't want others raising them, and looking after them myself would get in the way of being a musician and writer.
For me, the glory of my first 25 years as a writer was I could put things off as long as I wanted.
But I think talent as a writer is hard-wired in, it's all there, at least the basic elements of it. You can't change it any more than you can choose whether to be right handed or left handed.
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