The building of the architecture of a novel - the craft of it - is something I never tire of.
Half my life is an act of revision.
It doesn't really matter who said it - it's so obviously true. Before you can write anything, you have to notice something.
A writer's job is to imagine everything so personally that the fiction is as vivid as memories.
I don't begin a novel or a screenplay until I know the ending. And I don't mean only that I have to know what happens. I mean that I have to hear the actual sentences. I have to know what atmosphere the words convey.
If you are careful,' Garp wrote, 'if you use good ingredients, and you don't take any shortcuts, then you can usually cook something very good. Sometimes it is the only worthwhile product you can salvage from a day; what you make to eat. With writing, I find, you can have all the right ingredients, give plenty of time and care, and still get nothing. Also true of love. Cooking, therefore, can keep a person who tries hard sane.
I feel more a part of the wrestling community than I feel I belong to the community of arts and letters. Why? Because wrestling requires even more dedication than writing because wrestling represents the most difficult and rewarding objective that I have ever dedicated myself to; because wrestling and wrestling coaches are among the most disciplined and self-sacrificing people I have ever known.
The way you define yourself as a writer is that you write every time you have a free minute. If you didn't behave that way you would never do anything.
Writing a novel is actually searching for victims. As I write I keep looking for casualties. The stories uncover the casualties.
Be serious. Life hurts. Reflect what hurts. I don't mean that you can't also be funny, or have fun, but at the end of the day, stories are about what you lose.
The unspoken factor is love. The reason I can work so hard at my writing is that it's not work for me.
Plot is a map and I begin with it. It is what made me admire the novels of the 19th century; that the stories are foreshadowed. TheyÕre going someplace.
I think the sport of wrestling, which I became involved with at the age of 14... I competed until I was 34, kind of old for a contact sport. I coached the sport until I was 47. I think the discipline of wrestling has given me the discipline I have to write.
I've always preferred writing in longhand. I've always written first drafts in longhand.
Whatever I write, no matter how gray or dark the subject matter, it's still going to be a comic novel.
When I feel like being a director, I write a novel.
I am compulsive about writing, I need to do it the way I need sleep and exercise and food and sex; I can go without it for a while, but then I need it.
The book works better if I know everything I can about the ending. Not just what happens, but how it happens and what the language is; not just the last sentence, but enough of the sentences surrounding that last sentence to know what the tone of voice is. I imagined it as something almost musical. Then you are writing toward something; you know the sound of your voice at the end of the story. That's how you want to sound in those final sentences: the degree that it is uplifting or not, the degree that it is melancholic or not.
It's my experience that very few writers, young or old, are really seeking advice when they give out their work to be read. They want support; they want someone to say, "Good job."
So, you see, it's a real chore for me to write a book review because it's like a contest. It's like I'm writing that book review for every bad book reviewer I've ever known and it's a way of saying [thrusts a middle finger into the air] this is how you ought to do it. I like to rub their noses in it.
You bet I write disaster fiction. We have compiled a disastrous record on this planet, a record of stupidity and absurdity and self-abuse and self-aggrandizement and self-deception and pompousness and self-righteousness and cruelty and indifference beyond what any other species has demonstrated the capacity for, which is the capacity for all the above.
For most of my life, when I've finished the book I'm writing, there've always been as many as two or three other novels waiting to be written next. And the decision driving which one of them it should be was never based on how long it had waited or how many accumulated pages of notes I had.
And I don't want to begin something, I don't want to write that first sentence until all the important connections in the novel are known to me. As if the story has already taken place, and it's my responsibility to put it in the right order to tell it to you.
A novel is a piece of architecture. It's not random wallowings or confessional diaries. It's a building-it has to have walls and floors and the bathrooms have to work.
When I finally write the first sentence, I want to know everything that happens, so that I am not inventing the story as I write it - rather, I am remembering a story that has already happened.
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