"I would say that almost all creative nonfiction has an objective that is persuasive. What is the point of writing an essay if we don’t want to impact on a reader–shed light, change minds, confirm ideas, whatever? The challenge in creative nonfiction is how to get to the moment of impact–the persuasive aspect. And that is through narrative. We show–we don’t tell–or at least we don’t tell too much. The idea is to observe or learn about the experiences of others and communicate all of that in scene and narrative. The stories we tell–the pictures we draw in prose–should be vivid and graphic enough for us to persuade without having to beat our readers over the head. This doesn’t mean that we can’t add to the pictures with a bit of reflection–though not too much. The story should make the difference. The story should reflect what we, or the people about whom we are writing, think."
"He was actually able to memorize people by their eyes,” she said. “We all felt very connected to him."
"These are very positive and upbeat and can-do kind of people that we’ve hired,” said Shelly Schwedhelm, the unit’s nursing director. “We feel very confident in our supplies, in our protocols and in each other."
"In recruiting members, the team looks for people who are “meticulous and calm,” Dr. Smith said, adding, “We don’t want any hotheads.”"
"Nothing stops him or slows him or sours him, at least not for long. Nothing is beneath him, because he’s as unabashedly messy and slick as the operators all around him. He doesn’t recoil at the rough and tumble, or feel belittled and diminished by it. He relishes it. Throw a punch at him and he throws one at you. Impeach him and he bounces back."
"As for the Oscar talk, Mr. Keaton said, “What do I think about it? I think there’s chickens, and there’s hatched chickens.” No matter the part, he added, reaching for a sports metaphor to describe his career, “I play it like I’m losing.”"
"Sure, it’s work. Some days the words flow, and some days they don’t. Some days the characters are alive, and some days they’re not. Some days the plot moves in the right direction, and some days it doesn’t. It’s always a struggle to get it right."
"As far as changing things, I’m not sure the books have that big of an audience. What I try to do, when I write a book about an issue, is to entertain. You can’t spend too much time on a soapbox. You’ve got to entertain. If you can get the reader to think about an issue—whether it’s the death penalty, wrongful convictions, wrongful incarcerations, insurance fraud, or homelessness, whatever the issue is—if you can get the reader to think about that for the first or second time in the context of a popular novel, that’s enough for me. Just to get people to think a different way maybe."