Authorial Presence Quotes

Writing is the act of saying "I," of imposing oneself upon other people, of saying "listen to me, see it my way, change your mind."

I don't know if any single book made me want to write. C.S. Lewis was the first writer to make me aware that somebody was writing the book I was reading - these wonderful parenthetical asides to the reader.

I think too much is known about me already. I think biographical information can get in the way of the reading experience. The interchange between the reader and the work. For example, I know far too much about Norman Mailer and Kurt Vonnegut. Because I know as much as I do about their personal lives, I can't read their work without this interjecting itself. So if I had it to do over, I'd probably go the way of J.D. Salinger or Thomas Pynchon. And just stay out of it altogether and let all the focus be on the work itself and not on me.

I realized that even though I had this urge, this longing, to write about other people, in order for it to be emotionally gripping, I needed to be in there somehow.

Shakespeare's always been sitting on my back, since I began reading. And, certainly, as a writer, he's who I hear all the time. And he's almost indistinguishable now from the English language. I have no sense of what Shakespeare is like. I have no sense of the personality that is Shakespeare. I think, alone among writers, I don't know who he is.

I do not speak through my characters; it's not a ventriloquist act.

I think some people wished I'd kept myself out of the book. But I kind of insist on it because I want the reader to share my engagement with the material, if you like, not pretend that I'm doing it completely intellectually.

I don't think I've ever written about me. I'm not a character in any of my plays, except that boy, that silent boy that turns up in Three Tall Women.

I'm here to get the story on to the page. It would be good to catch your attention, and I have to make you want to read on, and I suppose I prefer you don't actually think about the 'how' at all - the writing technique, the 'style', or even who it is that's putting this together.

All my main characters have got bits of me, bits of my family, bits of my friends.

For the most part, there's so much of me in my characters.

During the fifteen or twenty years in which I tried - it was not always easy with publishers, newspapers, etc. - to forbid photographs, it was not at all in order to mark a sort of blank, absence, or disappearance of the image; it was because the code that dominates at once the production of these images, the framing they are made to undergo, the social implications (showing the writer's head framed in front his bookshelves, the whole scenario) seemed to me to be, first of all, terribly boring, but also contrary to what I am trying to write and to work on.

I wanted to be as invisible as possible as an artist. I wanted to differentiate between myself and who I'm writing about.

In the learned journal, in the influential newspaper, I discern no form; only some irresponsible shadow; oftener some monied corporation, or some dangler, who hopes, in the mask and robes of his paragraph, to pass for somebody. But through every clause and part of speech of the right book I meet the eyes of the most determined men; his force and terror inundate every word: the commas and dashes are alive; so that the writing is athletic and nimble,--can go far and live long.

In most books, the I, of first person, is omitted; in this it will be retained; that, in respect to egotism, is the main difference.

Everything of mine which has been filmed so far has been one character short, and that character is me.

Someone yelled at me once, 'You never write about yourself.' People used to get so mad at me for that. But my definition of myself is completely up for grabs. I'm everywhere, just like we all are.

People should be interested in books, not their authors.

The reader knows the writer better than he knows himself; but the writer's physical presence is light from a star that has moved on.

When I read James Joyce, I'm not really interested in the Dublin of 1904. I'm interested in being in the presence of a voice and a sensibility underpinned by an authenticity which, I think, if you're a good writer, you can extract from the specific details of your own time. I think most writers do hope that their books will be read in ten years.

If you feel that there's the author and then the character, then the book is not working. People have a habit of identifying the author with the narrator, and you can't, obviously, be all of the narrators in all of your books, or else you'd be a very strange person indeed.

I believe the poet shouldn't be in the poem at all except as a lens or as ears.

When my main character in 'Heat' climbs the tower, the highest diving platform, hoping to resume competitive diving after an injury, I am there with her, sensing the cold grit under her instep. The details are what matter - they are the experience.

When I'm writing, I try to have the mask of my character on as I'm walking through the world.

That's the way I will write characters, put a fair amount of myself in them, and then everyone else who was like that person, I will pick and choose.