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I've always relied on producing more material than I need. With each of my published novels I've written around four times the amount of material that's ended up in the book.

Lauren Groff

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Lauren Groff
Age: 46
Born: 1978
Born: July 23
Novelist
Writer
Cooperstown
New York
Always
Novel
Amount
Written
Relied
Four
Published
Times
Producing
Around
Novels
Book
Ended
Need
Material

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Amor animi arbitrio sumitu, non ponitur we choose to love we do not choose to cease loving.
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I try not to think too much or be too impatient, and let the back of my brain do its mysterious work.
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When I was small and easily wounded books were my carapace. If I were recalled to my hurts in the middle of a book they somehow mattered less. My corporeal life was slight the dazzling one in my head was what really mattered. Returning to books was coming home.
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I love Twitter. It's like having a closet full of clever friends that you can visit twice a day, then shove back into the darkness when you're tired of them.
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Song: Heloise and Abelard by Elizabeth Devlin. Beyond the a propros subject matter, this lady can really play the Autoharp. This song sounds like something you'd find on a gramophone record.
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In my totally unscientific yet enthusiastic survey of Communal Experiments Throughout American History, I've discovered that the thing most likely to break up said experiments is: Sex, all that murky, dark, dirty gunk simmering beneath human relations.
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When I write new worlds, I work in layers, building and throwing out, and building anew.
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My childhood was as conventional as you could get.
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If the literary category of 'mordant fable' exists at all, it may be because Brock Clarke invented it. The Happiest People in the World is everything we fans have come to love from a Clarke novel: playful and deliriously skewed, and somehow balancing between genuinely great-hearted and gloriously weird.
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Childhood is such a delicate tissue what they had done this morning could snag somewhere in the little ones, make a dull, small pain that will circle back again and again, and hurt them in small ways for the rest of their lives.
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I want to be identified as a writer, not a Southern writer, not a woman writer, not a woman from this or that place, but unfortunately it doesn't always happen.
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Our human impulse is to control everything, but fiction seems to me to be about allowing an element of mystery into the text.
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I feel lucky. I do love it, mostly. At college I had it in my heart that I wanted to be a writer but I didn't want to tell anyone about it. Then I graduated and became a bartender in Philadelphia, writing during the day. I was the worst bartender in the world.
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Even the presence of my kids cannot, during those writing hours, disturb me. Unless there's a bone sticking out of their arm, I'm not interested.
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I'm always hungry for people.
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And she, the new mother of a daughter, felt a fierceness come over her that seized at her heart, that made her feel as if her bones were turned to steel, as if she could turn herself into a weapon to keep this daughter of hers from having to be hurt by the world outside the ring of her arms.
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A female writer does definitely get more attention if she writes about male characters. It's true. It's considered somehow more literary, in the same way that it's more literary to write about supposedly male subjects, such as war. You're considered more seriously by the literary establishment.
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Research is about following the gleam into the dark. It's also about being sensitive enough to know which fact is the creative fact the fertile fact the fact that suggests and engenders, as opposed to the fact that deadens and kills a delicate new project.
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At least in my case, a very simple, regular, happy life makes for better writing.
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I won't walk under scaffolding or under ladders. I wear things like a baseball player wears things that are supposed to have luck. I am superstitious about everything.
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