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Quote by Nick Antosca

“I don't really think in terms of the future of literature. I think literature will be around "forever" - but in a relatively niche way, like jazz and poetry, although probably more widely consumed than jazz and poetry since it's fundamentally a narrative form. And I think that's important and places like Word Riot and 'The New York Tyrant' and 'n+1' will be responsible for keeping it alive.”

Quote by Nick Antosca

Author

Nick Antosca is an American author known for his works in the genres of horror and science fiction. His novels often delve into themes of human nature, fear, and the supernatural. Born on January 23, 1983, Antosca's writing career began with short stories, which were published in literary magazines and online platforms. As his reputation grew, he transitioned to writing novels, establishing himself in the horror and science fiction genres. more

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“I think the reason the stories are briskly paced, when they are, is that I like story. I like stories where things happen and there are surprises and reversals, in addition to vivid characters and a memorable voice. So those are the kinds of stories I try to write. And it turns out that's pretty much the only kind of writing that works for TV. It's a medium that just devours story, demands surprises and reversals. So my sensibility is suited to TV storytelling, at least as we think of it today.”

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“I don't think I've ever bench-pressed anything in my life. Until about two years ago I swam a mile almost every day. Then I stopped and I lost a lot of weight because my appetite was less. I'm not skinny now - I'm spindly. I eat an extremely simple diet - mostly salmon, avocado, feta cheese, chicken, eggs, peanut butter, blueberries, and quinoa.”

“I rarely exercise at all, except I have some hand weights that I'll lift idly while I'm watching TV. I did do some push-ups last week and somehow hurt my shoulder.”

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“I wanted to be involved with the making of some kind of parallel world. I thought, there's no reason to go to different parts of our world, because you can write them. You can stay home, stay in a little room, and imagine all these worlds. And I wanted to do that. Why did I want to do that, I'm not sure if I can tell.”

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“I always thought of writing as public, I never thought of writing a diary. I had been struck by, jolted by things I had read, and I wanted to do the same to others. I don't think it ever was the notion of an autobiography; I skipped that phase totally, I think.”

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“Writing was always a laborious thing for me. I never wrote fluently, I never wrote fluidly, there was something very awkward in my writing. But it seemed to me purposely awkward. It's almost as if I made the labor part of writing.”

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“Yeah, it's not that I wanted to do a painting, I wanted to do writing like that. What jolted me about Jasper Johns was how important it is to start with a convention, how important it is to start with what everybody knows and everybody takes for granted, whether it's a number, an alphabet letter, a set of alphabet letters, a target.”

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“I came from the time of so-called New Criticism - the poem in itself, the writing in itself - but around that time I had come across a critic called Kenneth Burke, who wrote a book called A Rhetoric of Motives, and it seemed to talk about another way, and gradually I realized that other way was that the reader made a difference.”

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“To be influential in tomorrow's world, to defend our values and our development model, France needs Europe and Europe needs France.”

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“If something's public then it seems like the important thing is the person in that public. And the notion of rhetoric. I went to Jesuit schools that focused on first there's grammar, then there's rhetoric, and rhetoric's usually seen as a kind of degraded method, because you're trying to persuade.”

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