Edan Lepucki Quotations

I have a darker imagination than most people.

Amazon has historically been a bully, and I don't shop there. But I love Goodreads. For the record.

I'm always looking for complicated characters in fiction about whom I can feel a dozen feelings at once - in the space of a single paragraph, even.

If you don't ponder the end of the world on a regular basis, I don't think you're really human.

Amazon is such a big player in publishing, but a lot of authors feel this connection to their publishing house and their editors who helped them get their books out there, so their loyalties tend to go that way.

Before my book, 'California,' came out, I had modest hopes for it. Or, let's put it this way - I had the same hopes that every literary fiction writer in America has: I wanted the novel to be well-received, critically. As for sales? I didn't want it to disappoint, but I didn't expect it to be a best-seller, either.

I am always worried that over-planning and outlining will kill the magic of writing; most of the world I created in 'California' occurred via good old sexy sentence-making.

I love how easy it is to run my business, Writing Workshops Los Angeles, with the help of email and my website. I love that I don't have to use cuneiform, a quill, or a typewriter to write my novels - I love to write on my laptop!

I recognize that I'm probably the luckiest novelist in recent memory, because Sherman Alexie, a writer I greatly admire, raved about my book on 'The Colbert Report,' and then Mr. Colbert himself urged his viewers to buy it - on his show and on Twitter.

I still can't believe that I went on 'The Colbert Report' myself; for the appearance I wore a lot of makeup, my hair was curled like a poodle's, and I could barely breathe in my Spanx undergarments. But, hey - an authoress has to lean in, right?

I wish I wasn't so in love, wasn't so interested, in the Internet. I wish I spent less time online and more time outside and in my head. Writing requires solitude and deep, deep daydreaming, and the Internet just kills that - its lure is toward the external; it asks you to flit from place to place.

I'm a mother of a three-year-old, but when I started 'California,' my son wasn't even a twinkle in my eye. Because the book took as long as it did, I wrote it before I was pregnant, while I was pregnant, and as a new mother - so I enjoyed a diversity of experiences while creating this world.

It's funny: when I set out to create the world of 'California,' I didn't give the type of apocalypse much thought... I simply set my two characters, Cal and Frida, in a depleted world and moved through it intuitively.

Oh how I wish I could be as obsessive as Carrie from 'Homeland' when I'm writing a book! That would save me a lot of trouble during the revision process.

With 'California,' editors were reading it, and fast, and others were emailing my agent to request it. Ultimately, there were a few editors interested in the book, and it sold at auction about two weeks after the submission process started. I couldn't believe it!

With my students, I don't offer any simple tips like that, maybe because my own process is pretty messy, but when we workshop we talk a lot about the deeper subject, which is what the story or novel is about. I think defining a narrative's themes can lay bare a narrative's tensions.

I am glad it's [California novel] resonated with people because, for me, most apocalyptic novels aren't scary, because they feel so very far off.

It's a bit scary to see my book come true: the recent (if minor) LA earthquakes, Hurricane Sandy, the Boston bomber, and so on - much of it stoppable, I think, and yet I, too, am also guilty of passivity.

Oh my goodness, I hate camping. I am like Frida times 1,000. I have always been attracted to wilderness stories, à la the movie Badlands, when Sissy Spacek and Martin Sheen are in the woods on the lam - maybe because it scares me a little.

California seemed to me to be all about secrets and the need for safety. And this leads to this thematic messiness I'm still trying to figure out what to do with. I mean, when it comes to the themes, this is nothing like an Atwood novel.

The messiness [in my books] is nothing like an Atwood novel. For me, the deeper subjects are secrets versus intimacy, and how both beget safety but also threaten it. And there is a lot for me about loss, too.

For me, even when I was pregnant, I wondered, Should we even have children if we're bringing them into this horrible, scary world? But I did have a child, despite these fears - or because of them - and these fears are both contemporary and as old as time.

I am not sure I knew what I was doing, writing an "apocalypse" novel, when I started this book. Now that the book is done, I can own that I have in fact written an apocalypse novel, one that speculates on a dark, dark future. Why I did it, I really don't know - every time people read my work they comment on its darkness, its sadness.

I suppose that it's my impulse to mine, as a writer, these scary parts of ourselves and the world.

I am not sure how a novel changes the world. I think it alters a reader's perspective by asking him or her to see the world through another consciousness. That can perhaps cause people to see their own lives differently. Or just give a single day, a single moment, a slightly different sheen.

I was interested in writing about gender in this future world where progress has not only halted but turned backward. On another note, sometimes the personal is not so politically correct, and what we are turned on by can't be made to behave.

I tossed off a mention of the pirates early on. And they became integral to the backstory. Sometimes now I imagine them in the woods. They scare me. All men. Dirty and wearing red.

I did a lot of this through writing flashbacks. Many of the flashbacks took place at Cal's school and I eventually cut them because they didn't seem essential and they slowed the pace of the story in the first third of the book. They were essential to me, though, in that I learned about my characters.

have a much harder time writing stories than novels. I need the expansiveness of a novel and the propulsive energy it provides. When I think about scene - and when I teach scene writing - I'm thinking about questions. What questions are raised by a scene? What questions are answered? What questions persist from scene to scene to scene?

I think that sharpens the intention of a scene and clarifies a story's arc. Of course, I don't seek the questions until after I've written a scene - or maybe after I've daydreamed it.

The issue is that my book, and so many others, are not available for pre-order from Amazon. I hadn't realized how much that mattered for new authors. And how much Amazon is hurting us.

At Ucross I learned that I am capable of focusing deeply for long periods of time. I love to write. I don't think I would have said that before this trip.

All crises, once averted, become jokes.