Zitat des Tages von John Irving:
Writing a novel is actually searching for victims. As I write I keep looking for casualties. The stories uncover the casualties.
More than a half, maybe as much as two-thirds of my life as a writer is rewriting. I wouldn't say I have a talent that's special. It strikes me that I have an unusual kind of stamina.
I've always been a fan of the 19th century novel, of the novel that is plotted, character-driven, and where the passage of time is almost as central to the novel as a major minor character, the passage of time and its effect on the characters in the story.
Sometimes that's a year, sometimes it's 18 months, where all I'm doing is taking notes. I'm reconstructing the story from the back to the front so that I know where the front is.
You know, people think you have to be dumb to skip rope for 45 minutes. No, you have to be able to imagine something else. While you're skipping rope, you have to be able to see something else.
I'm not a twentieth-century novelist, I'm not modern, and certainly not postmodern. I follow the form of the nineteenth-century novel; that was the century that produced the models of the form. I'm old-fashioned, a storyteller. I'm not an analyst, and I'm not an intellectual.
'The Fourth Hand' was a novel that came from twenty years of screenwriting concurrently with whatever novel I'm writing.
The building of the architecture of a novel - the craft of it - is something I never tire of.
I don't think I've had a very interesting life, and I feel that is a great liberation. That gives me great freedom as a fiction writer. Nothing that happened holds any special tyranny over me.
I do know where I'm going and it's just a matter of finding the language to get there.
When I was still in prep school - 14, 15 - I started keeping notebooks, journals. I started writing, almost like landscape drawing or life drawing. I never kept a diary, I never wrote about my day and what happened to me, but I described things.
I sometimes think that what I do as a writer is make a kind of colouring book, where all the lines are there, and then you put in the colour.
I had been a student in Vienna, and one of the neat little things I had found out was about that zoo. It was a good debut novel for me to have published. I was 26 or 27 when it was published. I already had a kid and would soon have a second.
I'm not writing non-fiction. I don't feel anything about me as a kid was unique. Except that I had more interest in being alone and using my imagination.
Your memory is a monster; you forget - it doesn't. It simply files things away. It keeps things for you, or hides things from you - and summons them to your recall with a will of its own. You think you have a memory; but it has you!
I find screenplays easy to write, my novels being very visual. You see what people look like. The physical action is described.
If you are lucky enough to find a way of life you love, you have to find the courage to live it.
Whatever I write, no matter how gray or dark the subject matter, it's still going to be a comic novel.
There are few things as seemingly untouched by the real world as a child asleep.
You've got to get obsessed and stay obsessed.
I believe that, in any novel of mine, the principal objective is the construction of the whole.
My old coach used to say that if you were in it for the match, if you were in it for the trophies, you were in it for the wrong reasons.
I believe in plot, in development of character, in the effect of the passage of time, in a good story - better than something you might find in the newspaper. And I believe a novel should be as complicated and involved as you're capable of making it.
Sigmund Freud was a novelist with a scientific background. He just didn't know he was a novelist. All those damn psychiatrists after him, they didn't know he was a novelist either.
No adult in my family would ever tell me anything about who my father was. I knew from an older cousin - only four years older than I am - everything, or what little I could discover about him.
There's no reason you should write any novel quickly.
And I don't want to begin something, I don't want to write that first sentence until all the important connections in the novel are known to me. As if the story has already taken place, and it's my responsibility to put it in the right order to tell it to you.
'Great Expectations' was an important novel in my adolescence. It was very much one of those emblematic novels that made me wish I could write like that. It helped that my models as a writer were dead over a hundred years before I began to write.
To each other, we were as normal and nice as the smell of bread. We were just a family. In a family even exaggerations make perfect sense.
I think the sport of wrestling, which I became involved with at the age of 14... I competed until I was 34, kind of old for a contact sport. I coached the sport until I was 47. I think the discipline of wrestling has given me the discipline I have to write.
So, I don't work in terms of real time. I don't work in a timely fashion.
I suppose I'm proudest of my novels for what's imagined in them. I think the world of my imagination is a richer and more interesting place than my personal biography.
You don't want to dwell on your enemies, you know. I basically feel so superior to my critics for the simple reason that they haven't done what I do. Most book reviewers haven't written 11 novels. Many of them haven't written one.
There's no reason you shouldn't, as a writer, not be aware of the necessity to revise yourself constantly.
If I have any advantage, maybe, as a writer, it is that I don't think I'm very interesting. I mean, beginning a novel with the last sentence is a pretty plodding way to spend your life.
I have pretty thick skin, and I think if you're going to be in this business, if you're going to be an actor or a writer, you better have a thick skin.