99+ Richard Russo Quotes on Empire Falls, Bridge of Sighs and Empire Falls - Quotes.pub

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My favorite teacher in college advised me not to write a book until it was impossible not to.

I also think it’s possible for us to be better people tomorrow than we are today.” He had no idea, of course, whether any of these things were true, in whole or in part. Still, what possible good could come of believing otherwise? –.

I don’t think America has ever had a center the way London is the center of England or Dublin is the center of Ireland.

Lincoln chuckled yet again. “What’s that poem you’re always quoting? About parents?” Teddy nodded. “Larkin.

I think a lot of what is going on with kids who get pushed too far and attempt either murder or suicide is that they are trying to deal with their own non-existence for the people who are supposed to care most for them.

I suppose all writers worry about the well running dry.

Intellectual curiosity, moreover, was not the same as talent, and he gradually came to understand that his own particular aptitude was for fixing things. From an early age he’d possessed an intuitive grasp of how and why things went off the rails, as well as how to get them back on again. He enjoyed taking things apart and putting them back together.

Movies have to handle time very efficiently. They’re about stringing scenes together in the present. Novels aren’t necessarily about that.

By ignoring a lot of American culture you can write more interesting stories. Unfortunately, if you were writing about America as it is, you’d be writing about a lot of people sitting in front of television sets.

It’s no secret that in my books I’m trying to make the comic and the serious rub up against each other just as closely and uncomfortably as I can.

No, Sully’d decided long ago to abstain from all but the most general forms of regret. He allowed himself the vague wish that things had turned out differently, without blaming himself that they hadn’t, any more than he’d blamed himself when his 1-2-3 triple never ran like it should at least once. It didn’t pay to second-guess every one of life’s decisions, to pretend to wisdom about the past from the safety of the present, the way so many people did when they got older.

Rub wiped his nose on his sleeve. “I just wisht – ” “What?” Rub sighed. Where to begin? “That I’d be nicer to you?” He shrugged again, but this was the gist of it, Sully could tell. “I wish I would, too,” he said, and for some reason this seemed to cheer Rub up.

Steve Yarbrough’s Safe from the Neighbors will take your breath away. Ambitious, funny, sad, smart, and beautifully crafted, it’s everything a novel should be.

Not everyone writes well from a child’s point of view.

I just have this feeling that if it weren’t for the Gloversville Free Library that I probably would not be a writer.

La verdad no sirve como sustituto de una buena respuesta.

I get and read an enormous number of first novels.

I looked back at some of my earlier published stories with genuine horror and remorse. I got thinking, How many extant copies might there be, who owns them, and do they keep their doors locked?

I think the darker aspect of my fiction-or anybody’s fiction-is by its very nature somehow easier to talk about.

I was pretty dead set against ever writing an academic novel. It’s always been my view that there are already more than enough academic novels and that most of them aren’t any good. Most of them are self-conscious and bitter, the work of people who want to settle grudges.

Lest it seem that I was neglected, I should point out that once I became known to the Mohawk Grill crowd, it was like having about two dozen more or less negligent fathers whose slender attentions and vague goodwill nevertheless added up.

I’ve never written nearly as much about place as people seem to think I do. I just write about class.

Throughout his life a case study underachiever, Sully – people still remarked – was nobody’s fool, a phrase that Sully no doubt appreciated without ever sensing its literal application – that at sixty, he was divorced from his own wife, carrying on halfheartedly with another man’s, estranged from his son, devoid of self-knowledge, badly crippled and virtually unemployable – all of which he stubbornly confused with independence.

I want that which is hilarious and that which is heartbreaking to occupy the same territory in the book because I think they very often occupy the same territory in life, much as we try to separate them.

You can be interested in a Jane Smiley novel whether or not anyone says a word. She enters into her characters thoughts with great understanding and depth.

You can do things his way, or you can wish you had.

Maybe sheetrocking wasn’t one of Sully’s favorite jobs, but like most physical labor, there was a rhythm to it that you could find if you cared to look, and once you found this rhythm it’d get you through a morning. Rhythm was what Sully had counted on over the long years – that and the wisdom to understand that no job, no matter how thankless or stupid or backbreaking, could not be gotten through. The clock moved if you let it.

When I start getting close to the end of a novel, something registers in the back of my mind for the next novel, so that I usually don’t write, or take notes. And I certainly don’t begin. I just allow things to percolate for a while.

A short story is something that I think can be intuited and envisioned and held in your mind almost at once.

When authors who write literary fiction begin to write screenplays, everybody assumes that’s the end. Here’s another who’s never going to write well again.

People often ask me how I make things funny. I don’t make things funny.

The offspring of two bookish parents, I made up my mind as a boy that I would be as unlike them as I could. I was determined not, as an adult, to look up from a book with that confused, abstracted, disappointed expression that my parents shared when jolted out of book life into real life.

If there’s an enduring theme in my work, it’s probably the effects of class on American life.

If my career continues along its current arc, people will probably look at me and see a writer who is obsessed with the relationship between rich and poor and with how the rich somehow or other always manage to betray the poor, even when they don’t mean to.

For years now he’d believed he had no further urgent business with this world, or it with him. But it could be he was wrong.

I think it would be harder for me not to write comedy because the comic view of things is the one that comes most naturally to me.

We don’t forgive people because they deserve it,” she said. “We forgive them because we deserve it.

What you can’t afford to lose is precisely what the world robs you of. How it knew what you needed the most, just so it could deny you that very thing, was a question for philosophers. Answer it and you’d have the kind of book Tom Ford would’ve considered worth writing: urgent and new and absolutely necessary. To write it, though, you’d have to be on fire.

Really? When? Had all his material become threadbare? After thirty years of marriage, were you supposed to come up with new stuff all the time?

A lot of my characters in all of my books have a self-destructive urge. They’ll do precisely the thing that they know is wrong, take a perverse delight in doing the wrong thing.

Most Americans want it to be 1959, with the addition of cappuccino and cable TV.

Because yank out one thread from the fabric of human destiny, and everything unravels. Though it could also be said that things have a tendency to unravel regardless.

I don’t think there’s a shortage of material in the world. Or in my head. I just pray for continued good health, because I’ve got other stories to tell.

You just kind of have faith. If that sounds kind of mystical, it’s because I really don’t know how it works, but I trust that it does. I try to write the way I read, in order to find out what happens next.

I think that if people are instructed about anything, it should be about the nature of cruelty. And about why people behave so cruelly to each other. And what kind of satisfactions they derive from it. And why there is always a cost, and a price to be paid.

Some authors have a very hard time understanding that in order to be faithful to the spirit of the book, it’s almost always impossible to remain faithful to the text. You have to make changes.

Structure is one of the things that I always hope will reveal itself to me.

You use simple brushstrokes in a screenplay for things over which you would take much greater pains in a novel.

Sleep is over-rated. Have you ever noticed how it’s always recommended to people anybody with half a brain can see need to wake up?

I can be glib and truthful all at once.

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