Joshua Ferris Quotes

Whatever the case, oftentimes, for a story to feel complete to me, I need more than one point of view.

I think one of the hardest things about doing a book in the first person is that to a certain extent each day, when you begin to do your work, you're climbing into somebody else's skin.

One of the most difficult things in writing a novel or anything at all is to choose the point of view from which it's going to be told.

I always think about the books I'm doing in pretty much the same way. I'm simply trying to write that particular novel as well as that particular novel can be written. I want to listen to what it is telling me, trying to figure out what it wants to do as much as what I want to do with it. There's a negotiation that's constant and ongoing between me and the material I'm working with, because I'm trying to listen to it.

A friend of mine who writes history books said to me that he thought that the two creatures most to be pitied were the spider and the novelist - their lives hanging by a thread spun out of their own guts. But in some ways I think writers of fiction are the creatures most to be envied, because who else besides the spider is allowed to take that fragile thread and weave it into a pattern? What a gift of grace to be able to take the chaos from within and from it to create some semblance of order.

Point-of-view is a matter that readers rarely pay attention to, yet it's one of the most important story decisions an author makes.

My readers often tell me that what they admire about my books is my ability to write from so many points of view. My challenge to myself is whether I'll ever be able to write a novel just from one point of view. It seems impossible.

I normally write in the first person, and my narrators are as real to me as any of the people I have worked with. They live and breathe in my imagination.

When I'm writing fiction, I'm sort of interested by the fact that somehow or other I can have the feeling of actually seeing things through someone else's eyes.

I spent ages figuring out things like viewpoint, how you tell the story, and so on.

You can sometimes get your own feelings across more strongly if you pretend that you're singing it from someone else's angle. But it's always from me. It's just a new way of framing it.

What's great about 'Game of Thrones' is they change the perspective, the POV, all the time. So you will have one story told by one character and you'll go, 'Oh my God, horrible', and then maybe the season after you have the same story told but from the person you thought was just the most horrible, vile creature.

Understanding POV is essential, or ought to be.

And before I'd got to the end of the first paragraph, I'd come up slap bang against a fundamental problem that still troubles me today whenever I begin a story, and it's this: where am I telling it from?

I had passed through the entire British education system studying literature, culminating in three years of reading English at Oxford, and they'd never told me about something as basic as the importance of point of view in fiction!

When I first concluded to print the book, I made an honest effort to construct it in the third person.

I try to have something in common with my protagonists, especially when I'm writing in the first person.

Writing in the first person automatically gives you a point of view.

A lot of people consider my books to be straightforward, but I think that I write from atmosphere to atmosphere rather than from event to event.

The way that I see third person is it's actually first person. Writing for me is all voice work. Third person narrative is just as character-driven as first person narrative for me in terms of a voice. I don't write very much in third person.

My first attempt at writing was very unstructured and formless, with shifting points of view. I was trying to understand how long form might work, and I realized I had something shapeless. It was a total car wreck. But I still felt I could pull it off. So I ditched that attempt and started writing in the opposite manner, in first person, with a driving narrative.

I have never written a novel that volleys back and forth between a couple of different first person perspectives. It's definitely a challenge because I had to think about who knows what, when do they know it, when are they sharing what they know or what they think they know, how the reader's perspective affects things. Telling the story in that way is challenging. It does require a lot of revision.

A book, at the same time, also has to do with what I call a buzz in the head. It's a certain kind of music that I start hearing. It's the music of the language, but it's also the music of the story. I have to live with that music for a while before I can put any words on the page. I think that's because I have to get my body as much as my mind accustomed to the music of writing that particular book. It really is a mysterious feeling.

If writing is thinking and discovery and selection and order and meaning, it is also awe and reverence and mystery and magic....Authors arrive at text and subtext in thousands of ways, learning each time they begin anew how to recognize a valuable idea and how to reader the texture that accompanies, reveals or displays it to its best advantage.

Objectifying your own novel while writing it never really helps. Instead, I guess while you're writing you need to think: This is the novel I want to write. And when you're done you need to think: This is what the novel I wanted to write feels like and reads like and looks like. Other people might call it sweeping or small, but it's the book you chose.