Jennifer Egan Quotes

I wrote 'Ava Wrestles the Alligator' when I was 22 or 23. These people and that world have been evolving in me for a while. It's such a shift not to be in that world.

I think it's always important to constantly keep the band on their toes and try new things that you hope will work. That's how 'Apologize' was born, and maybe down the line another little song will be born by that mentality. I've always really liked that song.

The little dissatisfaction which every artist feels at the completion of a work forms the germ of a new work.

I tried to reject everything I knew as a TV writer when I decided to be a novelist, and the books didn't work. Finally I realized I should go back to all the techniques I'd learned.

With each book you write you have to learn how to write that book - so every time, you have to start all over again.

I think any kind of hiatus one takes in an artistic journey is going to make a huge difference. The pause will inform the choices that you make.

I think a composer is always interested in his last work.

For me, the original play becomes an historical document: This is where I was when I wrote it, and I have to move on now to something else.

I think most artists find it difficult to part with their work but it's the parting that keeps us alive and keeps us working. In the case of the chariot, although it's been sold I actually still have it, just in another form.

It doesn't matter how many records you've made; there's always a new experience you can get with a new producer.

I wrote about 22 plays before 'When You Cure Me,' which was staged in 2005. I occasionally get them out and have a read, thinking maybe there's a thought or an idea or even a turn of phrase that I could use for something new. There's not. They're dire.

I can remember a lot of nights performing in those early years where you felt that you hit some good moments, but a lot of the time you're thinking, "Oh, God, this isn't quite making it." So I think that is what makes you in the end refine your view of things a little bit.

As an artist, you just want to keep creating, keep finding a place that really inspires you that feels fresh and new and keep it exciting.

I have found that each of my books has developed out of something I have written in a previous book. Some thought evidently unfinished.

When I finally write the first sentence, I want to know everything that happens, so that I am not inventing the story as I write it - rather, I am remembering a story that has already happened.

For me becoming a painter was an Everest, in terms of what I thought a painter was. There are many roads to becoming an artist. For me it wasn't art school. I didn't have that go to art school and then get a gallery. It's more like, how deep is your inner library to cull from. It's certainly not about technical prowess, just about depth of investigation. It takes time. I had 15 years of painting under my belt before my first New York show. I was glad to have that. It's a good thing to spend your twenties getting your craft.

As a creative person, you need to sort of spread your wings and try different things out because each one really does inform the other.

I look at some of the songs I wrote years ago and I can't believe I wrote such crap.

We're often afraid to do anything unless we know we can do it extremely well. But we get to Carnegie Hall by practicing. I remember how freeing it was several years ago to read in an interview with Joan Baez that some of Bob Dylan's early songs weren't so wonderful. We have this image of genius springing fully grown out of Zeus' forehead.

I had a couple albums out that sold well for who I was at the time and the type of music I played. People started recognizing my name and face and it helped sell bigger venues. I had a bigger spotlight and I had to live up to it but I thrived under that challenge. It expedited the creative process. If I was on stage in front of 300 people instead of 30, I had to work harder at my performances because I had a greater responsibility. It was very exciting, but creative too.

When I start on a film I always have a number of ideas about my project. Then one of them begins to germinate, to sprout, and it is this, which I take and work with. My films come from my need to say a particular thing at a particular time. The beginning of any film for me is this need to express something. It is to make it nurture and grow that I write my script- it is directing it that makes my tree blossom and bear fruit.

New scientific ideas never spring from a communal body, however organized, but rather from the head of an individually inspired researcher who struggles with his problems in lonely thought and unites all his thought on one single point which is his whole world for the moment.

I'm not sure I would call it agony but there is a kind of cyclic frustration. You get one story right and then here comes another one. When does that end? What I'm trying to do is get it to end right now, by recognizing that that cycle is writing. That is: trying to understand the frustrations and setbacks (and agony) as part of a bigger chess game you are playing with art itself.

When you come up in the art world, whatevers in the air, the issues of the moment, end up becoming part of the working method or modus operandi of how you think about doing a painting. And I came up at a time when-actually painting was dead when I came up. Sculpture sort of ruled.

Whenever I teach writing I tell them to never revise as you go. Finish the first draft. This is my writing advice. I can't do that myself. I'm lying to everybody. I write a paragraph, and then I rewrite that paragraph. I want to feel like I'm standing on firm ground before I move on to the next paragraph. Mentally, I have to do that.