Geoff Dyer in The Paris Review

Geoff Dyer on his writing process:

"The general process is just to splurge stuff out, without being particularly worried about the spelling or anything. Just splurging to make sure there’s something there. And then I begin knocking it into shape both at the level of the sentence and the overarching structure. But that initial phase is the one I increasingly hate, so I try to get it done as quickly as possible, in the five-minute bursts that I’m capable of putting in at the desk before I get up to do something else."

Read the full interview from The Paris Review HERE.


Geoff Dyer joins #LIVENYPL on Tuesday, June 10th. Tickets are available now.

millionsmillions
But as anyone with the least knowledge of literature and writing—maybe art in general—will know, concealing what is shameful to you will never lead to anything of value. This is something I discovered later, when I was writing my first novel, when the parts that I was ashamed like a dog to have written were the same parts that my editor always pointed out, saying, This, this is really good! In a way, it was my shame-o-meter, the belief that the feeling of shame or guilt signified relevance, that finally made me write about myself, the most shameful act of all, trying to reach the innocence of the now burned diarist—self.
Karl Ove Knausgaard said in an interview with Jesse Barron for The Paris Review. They discuss memory, personal crisis, artistic shame, and how he would burn My Struggle if there were less copies. Make sure to check out our review. (via millionsmillions)

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"The biggest thing that’s in a movie is the main thing is these faces and these voices, these people who are playing the scenes and as prepared as I may have a scene be, I feel like on a set it’s always just chaos and the actors take over and they have to bring it to life and you know it just goes to them."

- Wes Anderson speaking about his new film, The Grand Budapest Hotel, last week at LIVE from the NYPL.  The film hits theaters today.