I ran across an excerpt today (in English translation) of some dialogue/narration from the modern popular writer, Paulo Coelho in his book: Aleph.(Note: bracketed text is mine.)... 'I spoke to three scholars,' [the character says 'at last.'] ...two of them said that, after death, the [sic (misprint, fault of the publisher)] just go to Paradise. The third one, though, told me to consult some verses from the Koran. [end quote]' ...I can see that he's excited. [narrator]' ...Now I have many positive things to say about Coelho: He is respectable, inspiring as a man, a truth-seeker, and an appealing writer; but one should hesitate to call him a 'literary' writer based on this quote. A 'literary' author knows that a character's excitement should be 'shown' in his or her dialogue and not in the narrator's commentary on it. Advice for Coelho: Remove the 'I can see that he's excited' sentence and show his excitement in the phrasing of his quote.(Now, in defense of Coelho, I am firmly of the opinion, having myself written plenty of prose that is flawed, that a novelist should be forgiven for slipping here and there.)Lastly, it appears that a belief in reincarnation is of great interest to Mr. Coelho ... Just think! He is a man who has achieved, (as Leonard Cohen would call it), 'a remote human possibility.' He has won lots of fame and tons of money. And yet, how his preoccupation with reincarnation—none other than an interest in being born again as somebody else—suggests that he is not happy!
The novel should tell the truth, as I see the truth, or as the novelist persuades me to see it. And one more demand: I expect the novelist to aspire to improve the world. ... As a novelist, I want to be more than one more dog barking at the other dogs barking at me. Not out of any foolish hope that one novelist, or all virtuous novelists in chorus, can make much of a difference for good, except in the long run, but out of the need to prevent the human world from relaxing into something worse. To maintain the tension between truth and falsity, beauty and ugliness, good and evil. ... I believe the highest duty of the serious novelist is, whatever the means or technique, to be a critic of his society, to hold society to its own ideals, or if these ideals are unworthy, to suggest better ideals.
I became an artist because I wanted to be an active participant in the conversation about art.
She might not have read many books. But when she reads a book, she swallows the very words. If you open the books on her shelves, you will find that the front and back covers encase white pages.
This was what I came to found. The conquest of loneliness was the missing link that was one day going to make a decent novelist out of me. If you are out here and cannot close off the loves and hates of all that back there in the real world the memories will overtake you and swamp you and wilt your tenacity. Tenacity stamina... close off to everything and everyone but your writing. That s the bloody price. I don t know maybe it's some kind of ultimate selfishness. Maybe it's part of the killer instinct. Unless you can stash away and bury thoughts of your greatest love you cannot sustain the kind of concentration that breaks most men trying to write a book over a three or four year period.
On my website there's a quote from the writer Anthony Burgess: "The greatest gift is the passion for reading. It is cheap, it consoles, it distracts, it excites, it gives you knowledge of the world and experience of a wide kind." I've always found that inspiring because the written word, as an art form, is unlike any other: movies, TV, music, they're shared experiences, but books aren't like that. The relationship between a writer and a reader is utterly unique to those two individuals. The world that forms in your head as you read a book will be slightly different to that experienced by every other reader. Anywhere. Ever. Reading is very personal, a communication from one mind to another, something which can't be exactly copied, or replicated, or directly shared. If I read the work of, say, one of the great Victorian novelists, it's like a gift from the past, a momentary connection to another's thoughts. Their ideas are down on paper, to be picked up by me, over a century later. Writers can speak individually to readers across a year, or ten years, or a thousand. That's why I love books.
I only wrote prose before I met you. My musings were superfluous and serious as well. But now the words dance with me. I sing with them and we create poetry.
I write because the security of your love allows me to develop my craft without concerning myself with trivialities — as if your love could be any more complete. But I write, in the first place,because of you, my muse. I write for your green eyes to glance at my humble words and for the pleasure of hearing you utter them.
I came to pen another poem for you, but even every unwritten poem is you.
Poetry isn’t an island, it is the bridge. Poetry isn’t a ship, it is the lifeboat. Poetry isn’t swimming. Poetry is water.
Sit here, so I may writeyou into a poem and make you eternal.
For what was it about books that once finished left the reader in a bit of a haze and made them reread the last few sentences in order to continue the ringing in their hearts a while longer, so as not to let the silence illumine the fact that reading, they had gained something — distance, a lesson, a companion, a new world — but now, after the last full stop, they had lost something palpable and felt a little emptier than before.
All I need to dois place my pen against paperand your lovewrites for me.
A poetess is not as selfishas you assume.After months of agonising over her marriage of words—the bride—and spaces—the groom,she knows that as soonas she has penned the poem,it’s yours to consume.So, without giving it a think,she blows on the inkand the letters fly awaylike dandelions on a windy day,landing on hands and lips, on hearts and hips.But more often than not,you can easily spotthem trodden and forgotten,becoming sodden and rotten.Yet, she will continue to makewhat’s others to takebecause selfishness is not the mark of a poetess.
I've written you sixty-seven love poems.Here’s another one for you.But really, for me.These poems are the candles that I light with the fire you have ignited in me.I place this candle here and another thereso even if the stars have argued with the moonand are sulking away in a corner, you can still find your way to me.Sixty-eight poems now. What does the future hold for us?Joy? Disappointment? Gentle caresses? And subtle neglect?I hope the good is more than the bad. Much more. For what is the point of loveif by lighting these candlesour own flame loses its brightness?I know the good is more than the bad. Much more.I cannot wait to write you sixty-nine.
I'll call any length of fiction a story, whether it be a novel or a shorter piece, and I'll call anything a story in which specific characters and events influence each other to form a meaningful narrative. I find that most people know what a story is until they sit down to write one. Then they find themselves writing a sketch with an essay woven through it, or an essay with a sketch woven through it, or an editorial with a character in it, or a case history with a moral, or some other mongrel thing. When they realize that they aren't writing stories, they decide that the remedy for this is to learn something that they refer to as "the technique of the short story" or "the technique of the novel." Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.
It is not so much as to say that something has occured; but to describe the very essence of the occurance. One must take hold of his readers and pull them into his world...the world that he has penned, with the utmost care and attentiveness. And then, when the readers are fully submerged in this magnificently crafted place of wonder; they will see, and touch, and smell, and feel all the elements of the author's imagination.
Bringing a novel to light - revealing the form and cadence, shadows and demeanor of a protagonist constructed from thin air - linking scenes and synchronicity across translucent time - holding up a glass brimming with chilled, never-tasted liquid, then sipping from it with intoxicated focus - allowing lovers to make a perilous mess of things, fall apart and nakedly come back together again - looking through conjured windows deep into someone else’s snow-bound solitude, feeling utterly alone yet being all-connected: this is not writing. It’s world-creating.It’s raw, exposed dreaming. It’s humbling. At first too personal and intimate to share, it evolves like a child into a life of its own until I have no say in what comes next. It’s what I wake at 4am to say Yes to, the spinning possibility of a new story relentlessly commanding me to write it down so it can whirl in your experience.
I am, as it were, the created creating—a paradox, for all its rhetorical trappings, at the beating heart of our shared human journey, and one I invite you to struggle with just as I have while, day in and day out, word by word and line by line, constructing a fictitious autobiography for myself in these pages.
I think the writer is initially set going by literature more than by life. When there are many writers all employing the same idiom, all looking out on more or less the same social scene, the individual writer will have to be more than ever careful that he isn't just doing badly what has already been done to completion. The presence alone of Faulkner in our midst makes a great difference in what the writer can and cannot permit himself to do. Nobody wants his mule and wagon stalled on the same track the Dixie Limited is roaring down.
I'm not asking you to come reverently or unquestioningly; I'm not asking you to be politically correct or cast aside your sense of humor (please God you have one). This isn't a popularity contest, it's not the moral Olympics, and it's not church. But it's Writing, damn it, not washing the car or putting on eyeliner. If you can take it seriously, we can do business. If you can't or won't, it's time for you to close the book and do something else. Wash the car, maybe.
I know you would be watching over me all through this journey called life... whenever I look next to me, I feel like you arehere... and a part of you is within me in the form of this child... Love is like the wind... you may not see it... especially in the absence of the other... but you always feel it around...
A warm sunny evening, the plash and gurgle of the waves in the rock pools, the rush of the cold gin. I thought for the first time of my novel, abandoned, all these years, and I came up, unprompted, with the perfect title. Octet. Octet by Logan Mountstuart. Perhaps I will surprise them all, yet.
The lady who works in the grocery store at the corner of my block is called Denise, and she's one of America's great unpublished novelists. Over the years she's written forty-two romantic novels, none of which have ever reached the bookstores. I, however, have been fortunate enough to hear the plots of the last twenty-seven of these recounted in installments by the authoress herself every time I drop by the store for a jar of coffee or can of beans, and my respect for Denise's literary prowess knows no bounds. So, naturally enough, when I found myself faced with the daunting task of actually starting the book you now hold in your hands, it was Denise I turned to for advice.
You do not need to be temperamental or upset to be a novelist. Don’t embrace the tortured artist rhetoric that any life difficulties might serve to benefit and enhance your writing. That’s damaging. Counterintuitive. Writing can be so incredibly lonely, and when you’re alone with your thoughts for long enough to produce a hundred thousand words of your own headspace, it can be scary. Suffering is not good for your art. Mental health care is. So talk to someone other than your future readers about the problems you are facing. Someone you know and trust. There is no shame in asking for help.
Passionate attraction to someone of the opposite sex will make a hero or a fool of a novelist each time.
The novelist is required to create the illusion of a whole world with believable people in it, and the chief difference between the novelist who is an orthodox Christian and the novelist who is merely a naturalist is that the Christian novelist lives in a larger universe. He believes that the natural world contains the supernatural. And this doesn't mean that his obligation to portray the natural is less; it means it is greater.
The pleasures of being a novelist are many. But the greatest by far is the manner in which I live through my characters; experiencing every detail of their story as it unfolds gradually and personally within my own creative psyche. I'm like a cat with untold lives, because each new book is my rebirth.
There is one myth about writers that I have always felt was particularly pernicious and untruthful—the myth of the "lonely writer," the myth that writing is a lonely occupation, involving much suffering because, supposedly, the writer exists in a state of sensitivity which cuts him off, or raises him above, or casts him below the community around him. This is a common cliché, a hangover probably from the romantic period and the idea of the artist as a Sufferer and a Rebel.Probably any of the arts that are not performed in a chorus-line are going to come in for a certain amount of romanticizing, but it seems to me particularly bad to do this to writers and especially fiction writers, because fiction writers engage in the homeliest, and most concrete, and most unromanticizable of all arts. I suppose there have been enough genuinely lonely suffering novelists to make this seem a reasonable myth, but there is every reason to suppose that such cases are the result of less admirable qualities in these writers, qualities which have nothing to do with the vocation of writing itself.
Persons curious in chronology may, if they like, work out from what they already know of the Wimsey family that the action of the book takes place in 1935; but if they do, they must not be querulously indignant because the King's Jubilee is not mentioned, or because I have arranged the weather and the moon's changes to suit my own fancy. For, however realistic the background, the novelist's only native country is Cloud-Cuckooland, where they do but jest, poison in jest: no offence in the world.
Mathias shrugged. After all, a criminal lawyer is not concerned with facts. He is concerned with probabilities. It is the novelist who is concerned with facts, whose job it is to say what a particular man did do on a particular occasion: the lawyer does not, cannot be expected to go further than show what the ordinary man would be most likely to do under presumed circumstances.
I gain nothing but pleasure from writing fiction; short stories are foreplay, novellas are heavy petting – but novels are the full monte. Frankly, if I didn't enjoy writing novels I wouldn't do it – the world hardly needs any more and I can think of numerous more useful things someone with my skills could be engaged in. As it is, the immersion in parallel but believable worlds satisfies all my demands for vicarious experience, voyeurism and philosophic calithenics. I even enjoy the mechanics of writing, the dull timpani of the typewriter keys, the making of notes – many notes – and most seducttive of all: the buying of stationery. That the transmogrification of my beautiful thoughts into a grossly imperfect prose is always the end result doesn't faze me: all novels are only a version- there is no Platonic ideal. But I'd go further still: fiction is my way of thinking about and relating to the world; if I don't write I'm not engaged in any praxis, and lose all purchase.