![]() ![]() ![]() The sentences tend to be bit longer so that you can wade through them, feel comfortable and not get lost. I want them to borrow me, as it were, as their guide. Through style I try to create a very neutral, but not necessarily sort of rugged, but very neutral tone in my prose, which is sometimes incantatory so that essentially the reader can slip into my rhythm and by slipping into my rhythm to begin to sort of borrow my acoustics, my sense of smell, my sense of eyesight and so on. When you’re writing fiction or maybe essays too, do you consciously or unconsciously make space for readers to enter the work? But I think that you know at some point that you really are going to be writing something that is more based on somebody else. I hate when I sound academic because I don’t like that. Whereas an essay, usually I know I’m in an essay, but the prose is the same, the voices are very similar. I know I’m starting an imaginary trip down a lane that I know is going to be plot-oriented or semi-plot-oriented. I mean, when I started my essay on “My Night at Maud’s,” it was almost as if I was going to write about myself, not about the film, and I love this mixing of the two.īut I think that when I start a novel, I know I’m starting a story. When you start an essay, you know you’re going to write an essay. How do you begin a work of fiction as opposed to an essay? Is there a different head space that you enter into, or is it in some way similar? ![]()
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