Quote

Learn from cinema. Be economic with descriptions. Sort out the telling detail from the lifeless one. Write dialogue that people would actually speak.

Rose Tremain

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Rose Tremain
Age: 81
Born: 1943
Born: August 2
Author
Novelist
Screenwriter
Writer
London
England
Write
Dialogue
Writing
Details
Would
Telling
People
Sort
Descriptions
Economic
Lifeless
Actually
Detail
Learn
Description
Speak
Cinema

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And she did not want him to think her quite mad, only a little unique, only containing within her just that measure of the unexpected sufficient to make her irreplaceable.
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Perhaps, all writers walk such a line. In general - as we all do in our dreams - I believe I put something of myself into all the characters in my novels, male as well as female.
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The unfolding of a story is both as exciting and as difficult for each and every novel I've written, regardless of time and place.
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Life should be embraced like a lover.
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Writing is a strange synthesis between the two parts of your mind: the analytical side and the side that knows nothing at all, and you have to allow the dreaming side free rein.
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When you've finished a piece of work you've had a kind of love affair with it.
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Never be satisfied with a first draft. In fact, never be satisfied with your own stuff at all, until you're certain it's as good as your finite powers can enable it to be.
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Forget the boring old dictum, 'Write about what you know.' Instead, seek out an unknown yet knowable area of experience that's going to enhance your understanding of the world and write about that.
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At the moment, I'm toying with a new idea for a book, but fully engaged with writing screenplays, so the book idea - which needs empty space in my head - is barely formed yet.
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The process of rewriting is enjoyable, because you're not in that existential panic when you don't have a novel at all.
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Life is not a dress rehearsal.
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I can inhabit any character in a way that is difficult to do successfully in a contemporary novel.
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There is something about the unexpected that moves us. As if the whole of existence is paid for in some way, except for that one moment, which is free.
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Any setting can potentially acquire this vividness. It slowly arrives during the period of research, until it is as immediate to me as my own real surroundings.
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