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There are people who believe in an absolutely transparent prose; with every respect for clarity of expression, I don't.
John M. Ford
I read a lot of F. Scott Fitzgerald. I love 'Tender is the Night,' and its atmosphere of doomed romance. He was one of the greatest prose stylists, with a wonderfully clear but lyrical quality.
I write novellas because I don't like loose sprawling prose.
From the reader's view, a poem is more demanding than prose.
Somehow, the words don't have any vitality, any life to them, unless I can feel it marking on a paper. That's how I start. Once I'm off, then I switch to the laptop. I think it would all just be prose if it started on a laptop - not that what I do is poetry.
The trouble with us in America isn't that the poetry of life has turned to prose, but that it has turned to advertising copy.
So I really began as a failed poet - although when I first wanted to be a writer, I learned to write prose by reading poetry.
I think graphic novels are closer to prose than film, which is a really different form.
The process of composition, messing around with paragraphs and trying to make really good prose, is hardwired into my personality.
I really - I don't take my work that seriously, and I think that's what keeps me loose. If I try to write, if I catch myself trying to write, I'll fall right on my face. I'll see it. If I see in the prose that I'm - 'Boy, look at me writing,' I rewrite it. I rewrite it because I don't, because I think it's distracting.
I always like to break out and address the audience. In 'The History Boys', for instance, without any ado, the boys will suddenly turn and talk to the audience and then go back into the action. I find it more adventurous doing it in prose than on the stage, but I like being able to make the reader suddenly sit up.
The tradition of Russian literature is also an eastern tradition of learning poetry and prose by heart.
I fantasised about F. Scott Fitzgerald's 'The Great Gatsby' - I loved it, and then I read everything J. D. Salinger had to offer. Then I was turned on to Kerouac, and his spontaneous prose, his stream of consciousness way of writing. I admired him so much, and I romanticised so much about the '40s and '50s.
If you ever want to understand multitasking in prose, James Joyce is your man.
A prose writer never sees a reader walk out of a book; for a playwright, it's another matter. An audience is an invaluable education. In my experience, theatre artists don't know what they've made until they've made it.
I've always liked police-blotter kind of writing, or the writing of a policeman, right to the point and hardboiled. That's how I see at least the prose elements of scriptwriting.
That poetry survived in its formal agencies finally, and that prose survived to get something said.
It is a way we reassess our past. We can do that in poetry in ways we can't do in prose.
However, if a poem can be reduced to a prose sentence, there can't be much to it.
Next to the writer of real estate advertisements, the autobiographer is the most suspect of prose artists.
The human brain can soften as a result of incessant listening to music with an intent to commit prose.
Prose is like this big block - you write big paragraphs. I feel that when I'm reading and writing, that a prose book is kind of monolithic. But a song is more like a feather or something.
The Italian prose tale had begun to exercise that influence as early as Chaucer's time: but circumstances and atmosphere were as yet unfavourable for its growth.
The first two books that I did by myself were long stories in verse. I knew I could do that because I'd written a lot in verse. But, verse stories are hard to sell, so my editor encouraged me to try writing in prose.
I read a lot of autobiographical stories, and I write plays and prose. And I play piano and cello. A lot of my downtime is devoted to that.
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