Vivid Storytelling Quotes

I want books written out of a brain and heart and soul crowded and vital with Life, spelled with a big L. I want poetry bursting with passion. I don't care a hang for the 'verbal felicities.' They'll do for the fringe, but I want the garment to warm me first.

I cannot recall a more engaging passage in fiction, and I've been trying for almost eighteen seconds.

In 'A Bone in the Throat,' he describes his protagonist and alter ego, the cook Tommy Pagano, as 'darker, and not as tall as the chef, his hair stood up straight and spiky like a young Trotsky's.' He describes Little Italy with such verve, such flavor, that it is impossible not to smell the streets or taste the food.

I'm not asking you to describe the rain falling the night the archangel arrived; I'm demanding that you get me wet. Make up your mind, Mr. Writer, and for once in your life be the flower that smells rather than the chronicler of the aroma. There's not much pleasure in writing what you live. The challenge is to live what you write.

I don't want to write without a sense of drama, without passion, or without both eyes open to the world around me.

My wheelhouse is intense characters who have a certain sympathetic streak and also a sense of humor.

As I started to read nonfiction in the mid '70s, I discovered, holy cow, there was a lot of imaginative nonfiction. Not the kind where people use composite characters and invented quotes. I hate that kind of nonfiction. But imaginative in the sense that good writing and unexpected structure and vivid reporting could be combined with presenting facts.

You'll lose your reader if you are vague, not clear, and not present. We love details, personal connections, stories.

Writers spend too much time among dead things. I thought that was profound and actually true, that you're trying to pump life into something that is inanimate. You see what a sort of audacious thing it is to move these sort of imaginary people around in a very stylized and patterned world.

Even though one of them is about an Edinburgh junkie and ones a little boy of eight in Manchester, you want them to always portray their world in such a vivid way that the audience can disappear inside the story.

My father writings stuff was always his personal stuff, like about the day we had to put our dog down, or finding old photographs of his father, or passing a guy he went to boarding school with on a street in New York. Very specific, detailed, descriptive columns that he wrote. I think in a way, it could be argued that my best songs are that way too. They're almost journalistic in that they're very clear, and very specific, and they describe things.

I write in my own journal when something extraordinary or funny happens. And there's some nice imagery in there. I don't think of what to do with it.

Many a fervid man writes books as cold and flat as graveyard stones.

A writer's job is to imagine everything so personally that the fiction is as vivid as memories.

All you have is the writer's imagination. You have a very limited time to take this imaginary person and bring the details of their life, as you perceive them, to life. You attempt to do to that as fully and as vibrantly as you can. It's depressing to read how much you've failed. And it's not even particularly instructive or necessary to read how you succeeded because in the end don't you have to judge that?

Your tale, sir, would cure deafness.

It is a delicious thing to write, to be no longer yourself but to move in an entire universe of your own creating. Today, for instance, as man and woman, both lover and mistress, I rode in a forest on an autumn afternoon under the yellow leaves, and I was also the horses, the leaves, the wind, the words my people uttered, even the red sun that made them almost close their love-drowned eyes.