I think The Nightingale is my best, most mature, most moving novel, but maybe that's just because I love these characters. I love the setting.
In doing the research, I found myself consumed by a single, overwhelming question, as relevant today as it was seventy years ago: When would I, as a wife and mother, risk my life - and more importantly, my child's life - to save a stranger? That question is at the very heart of The Nightingale. I hope that everyone who reads the novel will ask themselves the question.
Without explaining why, and, most of all, without naming other authors or books, I can only say my novels are influenced by love and death.
I hate the word juicy in describing anything: lips, plots, oranges. But especially novels. It feels - icky. Reminds me of saliva.
I write with the idea that nobody will care about what I've written; I publish with the idea that nobody will care either. Which is why every time somebody cares enough to read a novel of mine, or respond to it - a reader, a reviewer, even my own editor - I'm a little bit amazed, and so hugely grateful.
My intention was never to write a "trans novel" - which is perhaps an effective strategy for writing a trans novel.
I don't yet know what style will be required for my next novel, but my sense is that each book will involve a new relationship to language.
I love short stories. They're like small imploding universes. They are very tightly bound and controlled. I'd been wanting to write one for ages but just got tangled up in novels. The novel is the same in the sense that it is also a universe, but it explodes outwards with all that shrapnel going in several different directions. I don't see too much difference in the forms except for the fact that writing short stories is like sprinting rather than long-distance running.
Novels are more difficult simply because they are longer and require more juggling, but short stories are closer to perfection, if you can get the language right.
A creative person can suddenly realize it's not 90 minutes. They haven't got to do three acts, they haven't got to do the arc, but they can do other things. I think just as novellas turned into novels, I think that television series can begin to have that depth.
I'm not suggesting that ours [series] is unique in that, but they can begin to have that depth, that gravity, they can spend some time, so it's a bit more like reading a good novel, if you like.
The reason I did the name change is simple. I wrote a bunch of autobiographical material and I was really enjoying myself doing it, and in two of the songs I quote two different people (referring to me as Mr. Stace). And it just hit me at some point that it was ludicrous for me to think of myself as Wesley Stace, publish novels as Wesley Stace, be Wesley Stace and not have it released as Wesley Stace.
Novels may have taken care of the emotional business for me, which has allowed music to be more emotional for me.
The truth is that when you're writing a novel you're really living in it; you're living in the house, and you're living in the town.
What usually happens is that when I'm nearing the end of one novel a vague idea about what I want to do next begins to present itself to me in terms of theme. And I would say over about the next six to eight months, usually as I'm out power walking in the morning, or when I'm cooking at night, or when I'm driving in the car, the people who might embody those themes take on a sharper and sharper focus. And there comes this sort of critical mass moment when they actually start to do things in my head.
I think books in which people are really happy and things are going well are probably the most challenging novels there are to write, and there are very few of them.
Novels are usually built on conflict, sometimes very, very difficult conflict. It's why men write war novels - because there you go, there's the conflict writ large.
The condition of visibility as it relates to black people was crucial. Connected to that, I've always been interested in science fiction and horror films and was acutely aware of the political and social implications of Ralph Ellison's description of invisibility as it relates to black people, as opposed to the kind of retinal invisibility that H.G. Wells described in his novel Invisible Man.
I'm reading "Team of Rivals'' I'll probably ending up reading a bunch of books about the Civil War. But I think my all-time favorite book about the war is the novel, "The Killer Angels'' by Michael Shaara.
I think the "crime novel" has replaced the sociological novel of the 1930s. I think the progenitor of that tradition is James M. Cain, who in my view is the most neglected writer in American literature.
I first told the idea to an editor I had met who, after reading one of my novels for adults that was set in a high school, had an idea that I might write something for children.
When I was researching my very first novel, "The Basic Eight," I was calling right-wing political and religious organizations and asking them to mail me their material so that I could mock them in my novels.
Often I don't read novels. The script is more important, that's the springboard to your imagination, really. Peripheral information can be interesting to read but you can't use it when it's not in the script.
You cross a border and the policeman or the frontier policeman look at you, What are you doing here? Why are you coming? How long will you stay? Well, if I had nearly enough years, I would write a novel about being a refugee.
Decline and Fall was a very depressing Evelyn Waugh novel, I think it was his first. I didn't get it at all, and then I got to love Waugh. And I think that maybe "Cosmopolitans" has a bit of an Evelyn Waugh vibe to it at some point.
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