Authorial Growth Quotes

As a teenager, I read a lot of H.P. Lovecraft, so I wrote like H.P. Lovecraft. And in my 20s, I read a lot of Ross Macdonald and Raymond Chandler, so I wrote like those guys. But, little by little, you develop your own style.

Other people’s words are so important. And then without warning they stop being important, along with all those words of yours that their words prompted you to write. Much of the excitement of a new novel lies in the repudiation of the one written before. Other people’s words are the bridge you use to cross from where you were to wherever you’re going.

I would also suggest that any aspiring writer begin with short stories. These days, I meet far too many young writers who try to start off with a novel right off, or a trilogy, or even a nine-book series. That's like starting in at rock climbing by tackling Mt. Everest. Short stories help you learn your craft.

I try to write books that are different from the books I've already written. I think one of the thing I really try to do is reinvent how a novel can be written.

I now can be sure that, once I start writing a book, I'll be able to finish it. I've also become more assured about my 'voice' as a writer and being able to keep the characters true to themselves.

It wasn't until I started to read short stories - by people like Alice Munro, Mavis Gallant, John Updike... Eudora Welty - that I became excited about the possibilities of writing.

I began my first novel when I was 15. It went through three drafts, of around 40,000 words each. If I find it, I'll burn it.

At the beginning, I experienced writing as a sort of constraint. Starting so young as a writer is pitiable: it's beyond your powers; you have to lay bare things that are very heavy, and you don't have the means for that.

I think I'm like most novelists in that my books have gotten farther and farther away from autobiography the longer I've been writing them.

I'd love to write something for a male protagonist. That's sort of the next frontier for me. I think it'd be really amazing to write the kind of parts that I love for women but for a guy.

I know my 17-year-old self would read my bourgeois fiction, full of metaphors and rhythmic prose, with a sinking heart.

When I first started writing, there was no way I'd write a sex scene. That just seemed impossible. That's why in "Fight Club" all the sex happens off-screen. It's all just a noise on the other side of the wall or the ceiling. I just couldn't bring to write in a scene like that. So one of the challenges with "Choke" was I wanted to write sex scenes until I was really comfortable just writing them in a very mechanical way.

When I began I thought that literature was contained within a bubble that somehow floated above the world commented upon by newspapers. But I became more and more interested in trying to include some of that world within my work.

The last story you should write is the most important story. You should start with a story that is just an amusing, entertaining, fun story to write and learn your writing chops with the least important things before you start applying them to the most important things.

I feel that at any stage of my literary career it could have been said that the last book contained all the others.

I can't trace thematic similarities between Then We Came To The End and The Unnamed to a life event; I think it's more just a natural progression as a writer. Everything changes in the second book - tonally, character-wise, situationally - and on top of that, I think I wanted a challenge. I wanted to see if I could do it.

I'm a better writer now because I've worked very hard at getting better. My long-range goal will always be to write better books.

In my later novels, I systematically used the convention, and then a moment came - when did it come? With The Book of Illusions, maybe - I thought, I don't need them anymore, I don't need them, I want to integrate the dialogue into the text.

Each book, intuitively sensed and, in the case of fiction, intuitively worked out, stands on what has gone before, and grows out of it. I feel that at any stage of my literary career it could have been said that the last book contained all the others.

John Dos Passos, Raymond Carver, Flaubert and William Maxwell were all very influential when I first started writing. Now, the writers I'm most interested in are the writers who are most unlike me: for example, Denis Johnson.

Before 'Fallen,' I'd written love stories and more love stories. I'd fallen in love with love stories - but they were also beginning to feel just a little bit too insular, too small.

I was heavily influenced by J. R. R. Tolkien, George R. R. Martin, C. S. Friedman, Terry Brooks, Robert Jordan, R. A. Salvatore, and James Clavell to name a few, but of course every book I've ever read, whether I liked it or not, has had an influence... I think I am constantly evolving as a writer, but not to mimic anyone else or mainstream trends.

In some ways I think it would be very dignified if I went away for twenty years and then wrote my fourth book.

Of course some people manage to write books really young and publish really young. But for most writers, it takes several years because you have to apprentice yourself to the craft, and you also have to grow up. I think maturity is connected to one's ability to write well.