In our exterior life, we can be only one person. But in our imagination, we can be anyone, anywhere.
When I read, I want to be fully transported to another place. I want to feel things, smell things.
Inside every human being, there is unlimited time and space.
I think we're starved for a life of the senses. We're in the garage, we're in the car, we drive to work, we're in a windowless cubicle that's gray and beige. In a way, it's funny that we consider ourselves an advanced culture, because people who live in so-called primitive environments still enjoy the richness of the smells, colors, and sounds of our world. We all crave that.
I'm always looking for something new and interesting to say. And it can't be something I'm directly experiencing.
There used to be a category called women's fiction - meaning not too rude, not too much sex, a bit domestic and internal. Women have changed so much. We're so varied. And we've become more interested in the same varied experience in fiction.
I'm incredibly restless. I read a lot of poetry. I also find myself reading the first 20 pages of everything, looking for something. And you know what? I'm usually looking for the book I'm writing. And it's not out there!
Writing mirrors the interior self. You know, any book is like the perfect blueprint of the psyche of the author.
When I start writing, my unconscious, my conflicts, my thoughts all start to come up. So for me, writing is an exploration. I never know how my stories will end.
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.
Once you get below the floor of our personal identities, we're all connected. Perhaps that's why we can move into others' lives.
I'm always gratified when I check something I've made up and discover that I've gotten it right. How can we imagine something that turns out to be true? How can we know things we couldn't possibly know? It makes me wonder about the existence of a collective unconscious.
I usually start with something that has some energy, like a compressed character or a situation that's wound up like a spring. Then all I have to do is let it go, let its energy carry the story. And that may not turn out to be the beginning of the book.
We read so that we can be moved by a new way of looking at things.
A cliché is like a coin that has been handled too much. Once language has been overly handled, it no longer leaves a clear imprint.
If I get ideas independently of the act of writing, they never really fit. So for me, there's no hanging out, waiting for inspiration.
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