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I really feel the novel has certain conveniences about it and has something so fundamental about it you could almost say that as long as there is paper, there is going to be the novel.
-William Golding
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I Really Feel The Novel Has Certain

William Golding
I really feel the novel has certain conveniences about it and has something so fundamental about it you could almost say that as long as there is paper, there is going to be the novel.
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Long Fundamentals Paper

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I like "rock, paper, scissors two-thirds." you know. "rock breaks scissors." "these scissors are bent. they're destroyed. i can't cut stuff. so i lose." "scissors cuts paper." "these are strips. this is not even paper. it's gonna take me forever to put this back together." "paper covers rock." "rock is fine. no structural damage to rock. rock can break through paper at any point. just say the word. paper sucks." there should be "rock, dynamite with a cutable wick, scissors."
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If you are a poet, you will see clearly that there is a cloud floating in this sheet of paper. without a cloud, there will be no rain; without rain, the trees cannot grow; and without trees, we cannot make paper. the cloud is essential for the paper to exist. if the cloud is not here, the sheet of paper cannot be here either. so we can say that the cloud and the paper inter-are.
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It's very bad to write a novel by act of will. i can do a book of nonfiction work that way - just sign the contract and do the book because, provided the topic has some meaning for me, i know i can do it. but a novel is different. a novel is more like falling in love. you don't say, 'i'm going to fall in love next tuesday, i'm going to begin my novel.' the novel has to come to you. it has to feel just like love.
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Because it's kind of great, being an idea that everybody likes. but i could never be the idea to myself, not all the way. and agloe is a place where a paper creation became real. a dot on the map became a real place, more real than the people who created the dot could never have imagined. i thought maybe the paper cutout of a girl could start becoming real here also. and it seemed like a way to tell that paper girl who cared about popularity and clothes and everything else: 'you are going to the paper towns. and you are never coming back.
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We see only the script and not the paper on which the script is written. the paper is there, whether the script is on it or not. to those who look upon the script as real, you have to say that it is unreal - an illusion - since it rests upon the paper. the wise person looks upon both paper and script as one.
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When you look at the sheer volume of paper usage in the u.s. alone, it's truly frightening: paper towels, toilet paper, napkins, writing paper. our consumption of trees is endless.
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What i'm really involved in when i'm writing is something that no one ever mentions when they see any play. writing is like trying to make gunpowder out of chemicals. you have these words and sentences and the strange meanings and associations that are attached to the words and sentences, and you're somehow cooking these things all up so that they suddenly explode and have a powerful effect. that's what absorbs me from day to day in writing a play.
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I am always coming up with architectural metaphors when i think about writing. but i think one of the things that draw us to literature is that it gives us this very attractive illusion that there is meaning in the world - things connect.
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Whenever i realize i'm being a goofball, i write it down. when i release the joke onstage, i love watching the effect it has on the audience. no one wants to see someone talk who takes themselves too seriously.
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