Jim Rash's Quotes

Some people will ruin a movie for you if they enthuse too much.

Technology has changed, and we need to figure out how to improve the archaic way of what makes a hit, or how to determine how many viewers are watching beyond some people with Nielsen boxes in a small percentage of homes in random areas.

As I get older I find myself thinking it all begins with Shakespeare.

'Cool-Hand Luke' is one of my favorite movies.

Faulkner came from my region and taught me how you could write about a place.

I learnt how to hunt rattlesnakes with an eagle for 'Serena.'

I wouldn't mind being a track and field coach.

One of my goals is to allow readers to see my characters and the world they inhabit as vividly as possible.

Furthermore, even if ideas were gettable - say, stacked in a secluded cave like the Dead Sea scrolls - I wouldn't go there. An 'idea,' especially one adhered to from start to finish, can be disastrous for a compelling piece of fiction.

I live in Cullowhee, North Carolina. That's where I teach, at Western Carolina University. That region is where my family has lived for a long time and that region is my landscape.

I love learning about different dialects and I own all sorts of regional and time-period slang dictionaries. I often browse through relevant ones while writing a story. I also read a lot of diaries and oral histories.

I think I had a particular moment when I was 15 years old. I read 'Crime and Punishment,' and that book just, I think, more than any other book made me want to be a writer, 'cause it was the first time that I hadn't just entered a book, but a book had entered me.

I think that's what I love about writing, is the ability to try to, in a sense, take a vacation from yourself and try to enter the sensibility of another time, another character, another place.

I think writing a poem is like being a greyhound. Writing a novel is like being a mule. You go up one long row, then down another, and try not to look up too often to see how far you still have to go.

I usually do at least a dozen drafts and progressively make more-conscious decisions. Because I've always believed stories are closer to poems than novels, I spend a lot of time on the story's larger rhythms, such as sentence and paragraph length, placement of flashbacks and dialogue.

On the last drafts, I focus on the words themselves, including the rub of vowels and consonants, stressed and unstressed syllables. Yet even at this stage I'm often surprised. A different ending or a new character shows up and I'm back to where I began, letting the story happen, just trying to stay out of the way.

Short fiction is the medium I love the most, because it requires that I bring everything I've learned about poetry - the concision, the ability to say something as vividly as possible - but also the ability to create a narrative that, though lacking a novel's length, satisfies the reader.

Sometimes I know what my characters are moving away from or toward; more often I just wait and see. For instance, though I knew Sinkler in 'The Trusty' was going for water, I did not know that he would meet a fetching young farm wife until I got him into her front yard.

What I've become convinced makes a writer are the days you hate it, the days you'd rather stick those pencils in your eyes. Sometimes I almost punish myself - if I'm not going be able to write, I'm not going be able to do anything else. I just sit there and wait.