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Authors—essayist, atheist, novelist, realist, rhymester, play your part,
Paint the mortal shame of nature with the living hues of art.
--
Line 139.

 

Alfred Tennyson (Lord)

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But who can paint
Like Nature? Can imagination boast,
Amid its gay creation, hues like hers?

 

James Thomson

 

My book is different.
In case you hadn't noticed, the story I'm telling is a little different. It's a little shy on the Aristotelian unities. It doesn't follow the classic Hollywood three-act structure. It's not like a five-act Shakespearean play. It's not like a Harlequin romance.
So what *is* the structure then? F**k if I know. That's part of what's taking me so long to figure out. As far as I can tell, my story is part autobiography, part hero's journey, part epic fantasy, part travelogue, part faerie tale, part coming of age story, part romance, part mystery, part metafictional-nested-story-frame-tale-something-or-other.
I am, quite frankly, making this up as I go. If I get it right, I get something like The Name of the Wind. Something that makes all of us happy.
But if I f**k it up, I'll end up with a confusing tangled mess of a story.
Now I'm not trying to claim that I'm unique in this. That I'm some lone pioneer mapping the uncharted storylands. Other authors do it too. My point is that doing something like this takes more time that writing another shitty, predictable Lord of the Rings knockoff.
Sometimes I think it would be nice to write a that sort of book. It would be nice to be able to use those well-established structures like a sort of recipe. A map. A paint-by-numbers kit.
It would be so much easier, and quicker. But it wouldn't be a better book. And it's not really the sort of book I want to write.

 

Patrick Rothfuss

 

Man is not supposed to make life. Only God can make a tree. Why should you make a living organism? You should make images of living organisms. It seems presumptuous to attempt to make a thing which breathes and pulsates right there by itself. It’s unnatural. What’s inhuman about it is, the human way to create, I think, the way we see, from part to part. You do this and then you do that, then you do that and that. Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where even though you naturally have to paint, after all a painting is only a painting, the painting is always saying, what do you want from me, I can only be a painting, you have to go from part to part, but you shouldn’t see yourself go from part to part, that’s the whole point That’s some kind of a leap.. ..I’m describing the process of painting.

 

Phillip Guston

 

Oh, where is man—
That mortal god, that hath no mortal kin
Or like on earth? Shall Nature's orator—
The interpreter of all her mystic strains —
Shall he be mute in Nature's jubilee?

 

Hartley Coleridge

 

Every fanatic or enemy of virtue is not at liberty to misrepresent the greatest geniuses and most heroic defenders of all that is valuable in this mortal world. History, to gain any credit, must contain some truth, and that truth shall thus be made a sufficient indication of prejudice and deceit.
With respect to the miracles which these biographers have related, I have already declined to enter into any discussion on their nature or their existence. The supposition of their falsehood or their truth would modify in no degree the hues of the picture which is attempted to be delineated.

 

Percy Bysshe Shelley