American - Novelist | 1962 -
When I read a book I liked, I would get a pen and one of my father's legal pads and rewrite it from memory as if I had thought of it myself. It was a clear sign that I wanted to be involved in writing, even if it was just pretend at that point.
Jonathan Dee
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Kenneth Branagh. There was a time in my life when people would tell me constantly that I look like him. I could do a lot worse than that.
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The first draft often is really fast, and I'd be terribly ashamed if anybody ever saw it.
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You never want to be in a position where your reader feels like you're passing judgment on your own characters. Any novel where you feel like the author is talking to the reader over the characters' heads is in a bad place.
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When I'm composing a scene for the first time, I try to imitate my character. The less critical distance the better - particularly when they're acting badly.
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It's nice to have something else going on when a book comes out so you're not just sitting by the phone, waiting for things to happen. You don't want to be the guy Googling himself all day.
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I'm not interested in current events per se, but I am interested in how certain aspects of social or public life that might seem ultra-contemporary actually take their place in a long American continuum.
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If you look at the practice of 'crisis management,' and maybe squint at it a little, you can make out in the corners of your vision the ghosts or the vestiges of a much older, but still thoroughly American, form of public life, one centered not on public opinion but on religion.
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In order to describe a particular subculture, you might want to portray people who are typical or representative of that subculture; but to dramatize it, to make it an interesting setting for a story, you want to bring someone anomalous into that setting, to see how she conforms to it, and it to her.
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That's always the most productive research - research into tone, into voice. Facts are nice, too, but facts are more raw material than creative inspiration.
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Writers like to feel sorry for themselves, which is easy to do in private, but when called on to feel sorry for ourselves in social situations, we will often do so by sharing terrible book tour stories.
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The don't-ask-don't-tell approach to plot and character that 'The Hurt Locker' relies on to set itself in motion doesn't offend me politically. It offends me as a storyteller.
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