I wanted to dissolve the boundary between the outside world and the world of the relationships. Those events, with exception of the Mt. Saint Helens explosion, were happening in the real time of the book, as I was writing. — Paul Lisicky Copy Share Image
I start with voice, maybe a sentence. That sentence might embody an image, and I go from there. One sentence to the next. Sound… — Paul Lisicky Copy Share Image
I think each of my books attempts to create its own voice so I'm not even sure I have a signature style, other than… — Paul Lisicky Copy Share Image
One way to be aware of it, to teach to yourself, is simply to read work aloud. I love reading the endings of books… — Paul Lisicky Copy Share Image
I wanted to preserve the feeling of remembering her just months after her death - the raw immediacy of it, so the drafts were… — Paul Lisicky Copy Share Image
Sometimes I can listen to music - sometimes there's no choice, especially if I'm out writing at a coffee place. But sometimes it's too… — Paul Lisicky Copy Share Image
Sometimes I need silence; sometimes I need voices around - but not too loud or distinctive. I guess it depends on the piece in… — Paul Lisicky Copy Share Image
I think the most reliable way to teach it is through reading work aloud over and over. Many prose writers been encouraged to do… — Paul Lisicky Copy Share Image
I wanted to dissolve the boundary between the outside world and the world of the relationships. Those events, with exception of the Mt. Saint… — Paul Lisicky Copy Share Image
“How then, in the time that followed, did I become someone I didn't know?” — Paul Lisicky Copy Share Image
I think my methods are more suggestive than assertive. Check out those passages again and see what you think. — Paul Lisicky Copy Share Image
I talk about it a lot to my students. Musicality never came up in any of own writing education, and I can see why… — Paul Lisicky Copy Share Image
