Zitat des Tages von Janet Fitch:
I send all my short fiction to 'Ontario Review' because Joyce Carol Oates is associate editor there, and I think she's fantastic.
While out on the perimeter, women discovered the freedom of badlands. They were curiously free to invent, without having to liberate themselves from the forms and rewards of the cultural norm.
Nineteen is as alive as 40-plus. I can vividly remember 19 and how I saw the world.
A terrific exercise is to take a paragraph of someone's writing who has a really strong style, and using their structure, substitute your own words for theirs, and see how they achieved their effects.
As a person with terrible handwriting, I love the computer. I've waited all my life for the computer.
When you have success, people think you know what you're doing, and you start to agree with them, you think you can conquer the world. But you go from grandiosity to panic.
The writer is both a sadist and a masochist. We create people we love, and then we torture them. The more we love them, and the more cleverly we torture them along the lines of their greatest vulnerability and fear, the better the story.
I'd rather see a writer write 15 minutes a day than save it all up for a Saturday. A work gets a coating on it when it's not been worked on for a while, makes it hard to break back in.
It's your flaws, not your strengths, that go down in the depths of your books. You're exposed, like dreaming you're naked in a public building.
My mother was an enthusiastic chef but wildly disorganized, and often preferred purchasing yet another jar of mace or chili powder rather than having to hunt down its last incarnation.
For me, I'd rather be the inventive one, and if something doesn't work, I'll go back to the workshop, put it on the bench, and pound on it for awhile.
A cliche is like a coin that has been handled too much. Once language has been overly handled, it no longer leaves a clear imprint.
Crime novelists do really well with Los Angeles.
Anytime you work with materials that are deep parts of yourself, you feel revulsion at showing things about yourself that you don't want people to know.
My father was an engineer - he wasn't literary, not a writer or a journalist, but he was one of the world's great readers. Every two weeks, he'd take me to our local branch library and pull books off the shelf for me, stacking them up in my arms - 'Have you read this? And this? And this?'
You start realizing that good prose is crunchy. There's texture in your mouth as you say it. You realize bad writing, bland writing, has no texture, no taste, no corners in your mouth. I'm a great believer in reading aloud.
A book's flaws make it less predictable.
As an undergraduate, I had not studied literature - I was a history major.
My thoughts about God are vague and abstract. My connection with the energy of the universe is shaky.
I write all the time, whether I feel like it or not. I never get inspired unless I'm already writing.
When you're a little kid, you are small, your life is small - and you're terrifically aware of that. But when you read, you can ride Arabian horses across the desert, you can be a dogsledder.
To make films, you have to have boundless energy; you have to work and play with others really, really well, and I'm really a more contemplative kind of person. I like to sit at home and think, a lot.
I have a hard time with abstractions. I always go to the personal.
Most women experience issues of power and sexuality, but very few women talk about it. There's the threat of the loss of approval.
I write every day, including weekends. For writers, there are no weekends. It's just that your family is around, looking mournful, wondering when you're going to pay attention to them.
I'm particularly fond of the Mulholland Fountain, at Riverside Drive and Los Feliz Boulevard, when it turns colors at night.
L.A. is such a real, active place. My mother was very into the core of the city. She worked in politics, and you have to know your territory. It's an active matrix; we're all parts of it, but people don't often stop to wonder what's going on.
I use my fiction to explore my own unconscious issues. I usually don't even know what's going on with me until I'm writing. That doesn't mean my books are autobiographical.