Quotes About Novel

The more readings a novel has, even contradictory, the better. In journalism, you talk about what you know; you have provided yourself with records, you have gathered information, you have performed interviews. In a novel, you talk about what you don't know, because the novel comes from the unconscious. They are very different relationships with words and with the world. In journalism, you talk about trees; in the novel, you try to talk about the forest.

The short story, free from the longuers of the novel is also exempt from the novel's conclusiveness--too often forced and false: it may thus more nearly than the novel approach aesthetic and moral truth.

In reading a novel, any novel, we have to know perfectly well that the whole thing is nonsense, and then, while reading, believe every word of it. Finally, when we're done with it, we may find - if it's a good novel - that we're a bit different from what we were before we read it, that we have changed a little... But it's very hard to say just what we learned, how we were changed.

In the case of my second film The Fish Child (El Niño Pez), I had written the novel about 5 years before I made into a film. In the case of The German Doctor I had published the novel a year before I started writing the script, I even had another project to shoot. But I had this idea of the powerful cinematic language from the novel that I couldn't let go of.

Israel is a fulfilled dream. Nothing that exists here existed here a hundred years ago. "The State of the Jews" was not a title of a country. It was a title of a futuristic novel. A little more than a hundred years ago, "Tel Aviv" was not a city. It was a title of another novel written by the same author. The "Return to Zion" was a name of another novel. There was a bookshelf. There was no state. There was no nation. All you can see, if you look through the window - everything you see is a fulfillment of dreams, different dreams.

I've always been a fan of the 19th century novel, of the novel that is plotted, character-driven, and where the passage of time is almost as central to the novel as a major minor character, the passage of time and its effect on the characters in the story.

I've no objection to the term 'graphic novel,' as long as what it is talking about is actually some sort of graphic work that could conceivably be described as a novel. My main objection to the term is that usually it means a collection of six issues of Spider-Man, or something that does not have the structure or any of the qualities of a novel, but is perhaps roughly the same size.

I'm not entirely sure what a historical novel absolutely has to be, but you don't want a reader who loves a very traditional historical novel to go in with the expectation that this is going to deliver the same kind of reading experience. I think what's contemporary about my book has something to do with how condensed things are.

I've never put Northern Ireland into a novel because it's not my territory. I come from the South, so my imaginative territory is very much the Republic of Ireland rather than the North. Even though, if I wrote a novel about the North, it might sell more.

A short story is a love affair, a novel is a marriage. A short story is a photograph; a novel is a film.

My first novel - the novel I wrote before 'Midnight's Children' - feels, to me, now, very - I mean, I get embarrassed when I see people reading it. You know, there are some people who, bizarrely, like it. Which I'm, you know, I'm happy for.

Identify the moral dilemma driving the novel. the successful novel will haunt a reader because it deals with some ethical or moral dilemma that makes the reader wonder what he or she would do in the protagonist's place.

If you're a novelist, you have sort of themes that run throughout novels. You start a novel and you finish a novel. With record-making in the singer-songwriter world or whatever it is that I do, it's a little different because there is no specific arc that is necessarily, like it's not a concept record.

One of my favorite literary theorists, Mikhail Bakhtin, wrote that the defining characteristic of the novel is its unprecedented level of "heteroglossia" - the way it brings together so many different registers of language. He doesn't mean national languages, but rather the sublanguages we all navigate between every day: high language, low language, everything. I think there's something really powerful about the idea of the novel as a space that can bring all these languages together - not just aggregate them, like the Internet is so good at doing, but bring them into a dialogue.

In some ways, a novel isn't as structurally rigorous as a screenplay or a TV show, which have finite real estate. In a novel, you can more deeply illuminate a character's interior and get away with digressions.

Mr. Robinson and Mr. Kovite have...written a captivating coming-of-age novel that is, by turns, funny and sad and elegiac -\-\ a novel that leaves us with some revealing snapshots of America, both at war and in denial, and some telling portraits of a couple of millennials trying to grope their way toward adulthood.

The novel is always pop art, and the novel is always dying. That's the only way it stays alive. It does really die. I've been thinking about that a lot.

With American Gods I was trying very, very consciously - there was a level at which it was a little like trying to write a novel in French - you know, "this novel is to be written in American."

The most common mistake students of literature make is to go straight for what the poem or novel says, setting aside the way that it says it. To read like this is to set aside the ‘literariness’ of the work – the fact that it is a poem or play or novel, rather than an account of the incidence of soil erosion in Nebraska.

I do think some games are works of art, although their medium is visual rather than verbal. Both games and novels allow the reader/player to become a protagonist in the theater of the imagination. Both build worlds. In my opinion, the big difference between game and novel is in narrative structure. Communal role-playing games are open-plan without an end. A novel - at least the kind I write - has a closed structure with a beginning, a middle, and an end. I like that closed structure, and I feel I can say more with it.

The present era grabs everything that was ever written in order to transform it into films, TV programs; or cartoons. What is essential in a novel is precisely what can only be expressed in a novel, and so every adaptation contains nothing but the non-essential. If a person is still crazy enough to write novels nowadays and wants to protect them, he has to write them in such a way that they cannot be adapted, in other words, in such a way that they cannot be retold.

Every time that I write a novel I am convinced for at least two years that it is the last one, because a novel is like a child. It takes two years after its birth. You have to take care of it. It starts walking, and then speaking.

Why are murder mysteries so popular? There's a 3-part "formula" (if you want to call it that) for a genre novel: (1) Someone the reader likes and relates to (2) overcomes increasingly difficult obstacles (3) to reach an important goal. The more important the goal, the stronger the novel. And the most important goal that any of us have is survival. That's why murder mysteries are more gripping than a story titled "Who Stole My TV Set.

The short story is at an advantage over the novel, and can claim its nearer kinship to poetry, because it must be more concentrated, can be more visionary, and is not weighed down (as the novel is bound to be) by facts, explanation, or analysis. I do not mean to say that the short story is by any means exempt from the laws of narrative: it must observe them, but on its own terms.

I was a teenager when General Zia took power in the Pakistan; I was in my twenties when I went there during the late 1980s and I saw then not only the novel punishments that he was introducing - because they were novel, and this is again something that's very important to understand, it's only in the last thirty, forty years, since 1979 in fact, that these penalties have been revived anywhere in the world apart from Saudi Arabia.

It may sound very strange, but I love the freedom that writing a novel gives me. It is an unhindered experience. If I come after a bad day, I can decide that my protagonist will die on page 100 of my novel in a 350-page story.

the novel is inherently a political instrument, regardless of its subject. It invites you - more than invites you, induces you - to live inside another person's skin. It creates empathy. And that's the antidote to bigotry. The novel doesn't just tell you about another life, which is what a newspaper would do. It makes you live another life, inhabit another perspective. And that's very important.

You know, I can imagine not writing a novel and writing poetry only.

I have only one bit of advice to beginning writers: be sure your novel is read by Rodgers and Hammerstein.

One of the things I've thought about 'Midnight's Children' is that it is a novel which puts a Muslim family at the centre of the Indian experience.

The job of the writer is to take a close and uncomfortable look at the world they inhabit, the world we all inhabit, and the job of the novel is to make the corpse stink.

Baseball is more like a novel than a war. It is like an ongoing, hundred-year work of art, peopled with thousands of characters, full of improbable events, anecdotes, folklore and numbers.

Plot comes first. The plot is the archictecture of your novel. You wouldn't build a house without a plan. If I wrote without a plot, it would just be a pile of bricks. Characters are your servants. They must serve your plot.

Ah, there's nothing like tea in the afternoon. When the British Empire collapses, historians will find that it had made but two invaluable contributions to civilization - this tea ritual and the detective novel.

A novel, in the end, is a container, a shape which you are trying to pour your story into.

Certainly, we do not need to be soothed and entertained always like children. He who resorts to the easy novel, because he is languid, does no better than if he took a nap.

There's nothing worse than sitting down to write a novel and saying, "Well, okay, I'm going to do something of high artistic worth." It's funny.

Novel writing is the slowest art form in the world. It is not a sprint. It is not even a marathon. It is a series of marathons that stretch over and over across a continent.

For me, the experience of making the show is very much like being in a novel. I enjoy getting the new script. I make a cup of tea and I read it the same way I would read a book, with the same amount of joy.

Though The Kite Runner was my first completed novel, I had been writing on and off for most of my life, primarily short stories, and primarily for myself.

It is never possible for a novelist to deny time inside the fabric of his novel: he must cling, however lightly, to the thread of his story, he must touch the interminable tapeworm, otherwise he becomes unintelligible, which, in his case, is a blunder.

I love the movies, and when I go to see a movie that's been made from one of my books, I know that it isn't going to be exactly like my novel because a lot of other people have interpreted it. But I also know it has an idea that I'll like because that idea occurred to me, and I spent a year, or a year and a half of my life working on it.

It is so much hard work writing your first novel. You're not even sure that it is possible to do.

A novel is a commodity that fulfills a certain need; people need to buy daydreams like they need to buy ice cream or aspirin or gin. They even need to buy a pinch of intellectual catnip now and then to liven up their thoughts.

I was obsessed with fairytales, and I was a very, very inquisitive kid, and I would ask my mom all kinds of questions. It all kind of formed a story in my head, and I really wanted to be a published author when I was 10, but I had a hard time writing a novel when I was 10. So I decided to wait until I was little bit older and then get it done.

In a novel, if you're any good, you don't just have good people or bad people. You have complicated people. You have real people.

I sort of hate the novel when it doesn't push, restlessly, against the tradition and the traditional.

I'd been assured, at age 21 or so, by a well-known editor who saw the first part of The Secret History in what was basically its final form, that it would never be published because "no woman has ever written a successful novel from a male point of view."