Quotes by: Daniel Woodrell
I came back when I'd had a taste of other places and realized that I would never feel the same sense of connection to any place other than the Ozarks.
I rise near dawn, make a strong cup of coffee, wander to my desk and come fully awake by reading something written the day before.
It's called 'The Outlaw Album,' not 'The Ozarks Album.' These are stories that delve into different kinds of outlawry, from criminal acts to interior, or psychological, outlawry. The book is not meant to be a tapestry of the Ozarks.
Just because it's got a gun doesn't make it a crime novel, and just because there's a horse doesn't make it a western.
I'm very attracted to poetry for all the reasons someone likes poetry. The notion of compression seems to fit my personality.
This happens to me all the time: I think I'm working on one thing, but this other thing, whether I want it to or not, keeps coming through.
I was reading newspaper front pages from the 1930s, and I was taken aback. I'm not naive about American history, but I was a bit knocked off my feet by things that used to be on the front pages of newspapers.
I have a book in the pipeline of short stories. You want to hear an agent scream, say 'I'm thinking about doing a collection of short stories set in the Ozarks.'
I like the idea of everybody knowing each other; you know why you're doing things.
I've bumped into at least three people in town who all insist 'Winter's Bone' is about them.
I don't want to be callous about it, but we all seemed to get over the Oklahoma bombing pretty quickly, and we're never going to get over 9/11.
The town of St. Charles near St. Louis was founded by a trapper named Blanchette. There is a section that's called Frenchtown on historical markers.
I think all regions have had their peculiarities of speech rounded off by television, radio, and people travel so much more now.
But I've been at writing long enough now to know that every three or four books I have to start a new direction.
I guess it's ridiculously romantic, but I wanted to be a full tilt, sink-or-swim writer.
As a high-school drop-out, I knew I wanted to write, but I wasn't overly confident that I was going to be writing anything serious. I was happy enough with the idea that I could be a penny-a-word guy and survive.
I always loved the verve and vivacity of pulp and I kind of merged it with my own interest in family stories.
I was born in West Plains, and we lived here till I was one. Then my dad needed to get a job, so we moved to the St. Louis area. I lived in St. Charles, on the Missouri River, till I was 15.
You want to hear an agent scream, say, 'I'm thinking about doing a collection of short stories set in the Ozarks.'
It was in a grim room on Eddy Street that I finally opened 'A Moveable Feast.' I read it all overnight. I read it again the next day.
One of the interesting things about the Ozarks is you just about don't have street crime. It's strictly between people who know each other. It really isn't indiscriminate; it's kind of between themselves.
I tell the story by feel most of the time, and I am not much given to labyrinthian digressions but seem to be naturally drawn to compression and pace, and the feelings come about on their own.