Quotes About Novel

It's very bad to write a novel by act of will. I can do a book of nonfiction work that way - just sign the contract and do the book because, provided the topic has some meaning for me, I know I can do it. But a novel is different. A novel is more like falling in love. You don't say, 'I'm going to fall in love next Tuesday, I'm going to begin my novel.' The novel has to come to you. It has to feel just like love.

No writer, I believe, should attempt a novel before he is thirty, and not then unless he has been hopelessly and helplessly involved in life. For the writer who goes out to find material for a novel, as a fishermen goes out to sea to fish, will certainly not write a good novel. Life has to be lived thoughtlessly, unconsciously, at full tilt and for no purpose except its own sake before it becomes, eventually, good material for a novel.

One easy mistake to make with the first novel is to expand the short story. Some things are better as a story; you cannot dilute things into a novel. I think the first hundred pages of a novel are very important. That's where you set things up: the world, the characters. Once you've set that up, it'll be much easier.

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.

If you've ever compared a film to a novel it's based on, you know the novel gets bludgeoned. It's inevitable, because different media have different strengths and needs, and when you make a movie, the movie's needs get served.

I've never discovered the idea for my next novel while I was still working on the current novel. Other writers don't suffer this.

The Confessions of Catherine de Medici is a dramatic, epic novel of an all-too-human woman whose strength and passion propelled her into the center of grand events. Meticulously-researched, this engrossing novel offers a fresh portrait of a queen who has too often been portrayed as a villain. Bravo Mr. Gortner!

Every novel is a biography. Well, then, this is a novel [The Paper Men] which is a biography that is pretending to be an autobiography. That's what you could say about it.

a novel is not born of a single idea. The stories I've tried to write from one idea, no matter how terrific an idea, have sputtered out and died by chapter three. For me, novels have invariably come from a complex of ideas that in the beginning seemed to bear no relation to each other, but in the unconscious began mysteriously to merge and grow. Ideas for a novel are like the strong guy lines of a spider web. Without them the silken web cannot be spun.

I don't think any particular painters have inspired me, except in a general sense. It was more a matter of corroboration. The visual arts, from Manet onwards, seemed far more open to change and experiment than the novel, though that's only partly the fault of the writers. There's something about the novel that resists innovation.

I'm a big Philip Roth fan. I think "American Pastoral" is the great American novel of the past 30 to 40 years. It's a novel about what happened in the 1960s, and I think America is still dealing with what happened then. It's devastatingly sad.

It seems to me that the novel is very much alive as a form. Without any question, every epoch has its own forms, and the novel nowadays cannot resemble that of the nineteenth century. In this domain all experiments are justified, and it is better to write something new clumsily than to repeat the old brilliantly. In the nineteenth century, novels dealt with the fate of a person or of a family; this was linked to life in that period. In our time the destinies of people are interwoven. Whether man recognizes it or not, his fate is much more linked to that of many other people than it used to be.

It [going from mini-series to series] was never even discussed because it [The Starter Wife] was, you know, an adaptation of a novel. And we - the mini-series encompassed the whole novel. And so it was always going to be a finite sort of event. And then I imagine when people started to really respond to the show and then we got ten Emmy nominations, USA sort of said, "Oh, I think maybe we have something here."

It is much easier for me to define what makes a novel French or Russian, but defining the characteristics of an Australian novel are difficult for me as it is all too close - I can't see the woods for the trees.

Some novel lovers have no interest in comics, and some comics fans would never take the time to read a novel.

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.

Here's what I want from a book, what I demand, what I pray for when I take up a novel and begin to read the first sentence: I want everything and nothing less, the full measure of a writer's heart. I want a novel so poetic that I do not have to turn to the standby anthologies of poetry to satisfy that itch for music, for perfection and economy of phrasing, for exactness of tone. Then, too, I want a book so filled with story and character that I read page after page without thinking of food or drink because a writer has possessed me, crazed with an unappeasable thirst to know what happens next.

Not a lot of contemporary fiction is written about brothers and sisters. Salinger's Franny and Zooey was an inspiration for me. In Franny and Zooey, the sister gets in trouble and the brother comes to help her out. But I wanted to make sure that in my novel the sister had more to do than lie around on a sofa muttering, which is what Franny does for two-thirds of Salinger's novel.

I've had some tremendous adventures, good and bad. It's part of the novel, and a novel isn't interesting if it doesn't have some good and bad. And you don't know what good is if bad hasn't been a part of your life

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.

We are all potentially characters in a novel--with the difference that characters in a novel really get to live their lives to the full.

Introduce your main characters and themes in the first third of your novel. If you are writing a plot-driven genre novel make sure all your major themes/plot elements are introduced in the first third, which you can call the introduction. Develop your themes and characters in your second third, the development. Resolve your themes, mysteries and so on in the final third, the resolution.

A screenwriter heard me read from my novel 'The Wishbones' when it was still in progress and mentioned me to some producers in Hollywood. They called, and I told them I had a novel in my drawer about a high school election that goes haywire. They asked to take a look, and my life changed pretty dramatically as a result.

In my head, the 5 issues of A Spoon Too Short comprise one novel: a 100 page graphic novel sequel to Douglas' two Dirk books, taking some of the ideas he was working on before he died, and a whole bunch of new stuff from me and a little from Max Landis (who is the Executive Producer on the book as well as writing the forthcoming TV series).

Just about everybody has written a first novel that they throw away before writing their actual first novel.

What we know about writing the novel is the novel.

In a way, I think that the movie Fight Club [1999] did a weird, negative thing to boxing, culturally. I mean, it is sort of similar to what has happened to the novel. For however many good novels are written, the novel itself has completely lost its place.

But novels are never about what they are about; that is, there is always deeper, or more general, significance. The author may not be aware of this till she is pretty far along with it. A novel's whole pattern is rarely apparent at the outset of writing, or even at the end; that is when the writer finds out what a novel is about, and the job becomes one of understanding and deepening or sharpening what is already written. That is finding the theme.

A detective novel should contain no long descriptive passages, no literary dallying with side-issues, no subtly worked-out character analyses, no 'atmospheric' preoccupations. Such matters have no vital place in a record of crime and deduction. They hold up the action and introduce issues irrelevant to the main purpose, which is to state a problem, analyze it, and bring it to a successful conclusion. To be sure, there must be a sufficient descriptiveness and character delineation to give the novel verisimilitude.

In a play, certainly, the subject is of more importance than in any other work of art. Infelicity, triviality, vagueness of subject, may be outweighed in a poem, a novel, or a picture, by charm of manner, by ingenuity of execution; but in a drama the subject is of the essence of the work-it is the work. If it is feeble, the work can have no force; if it is shapeless, the work must be amorphous.

Human beings, you see, do absolutely two primary things. We see like and unlike. Like becomes, in literature, simile and metaphor. Unlike becomes uniqueness and difference, from which I believe, the novel is born.

A certain critic -- for such men, I regret to say, do exist -- made the nasty remark about my last novel that it contained 'all the old Wodehouse characters under different names.' He has probably by now been eaten by bears, like the children who made mock of the prophet Elisha: but if he still survives he will not be able to make a similar charge against Summer Lightning. With my superior intelligence, I have out-generalled the man this time by putting in all the old Wodehouse characters under the same names. Pretty silly it will make him feel, I rather fancy.

I always begin [a novel] with outlines, but they change and so do my endings and beginnings.

My medium is prose, not the novel.

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.

My God, this novel makes me break out in a cold sweat! Do you know how much I've written in five months, since the end of August? Sixty-five pages! Each paragraph is good in itself and there are some pages that are perfect. I feel certain. But just because of this, it isn't getting on. It's a series of well-turned, ordered paragraphs which do not flow on from each other. I shall have to unscrew them, loosen the joints, as one does with the masts of a ship when one wants the sail to take more wind.

People think that they will sit down and produce the great American novel in one sitting. It doesn't work that way. This is a very patient and meticulous work, and you have to do it with joy and love for the process, not for the outcome.

Bonsai won the Chilean Critics Award for best novel of the year in 2006and it's easy to understand why.

This thought-provoking novel portrays the absurdity of our overbearing government bureaucracy with a story that is entertaining and fast-paced. The Taxman Cometh will become part of our national dialogue about taxes and freedom. And it’s funny as hell. Author Jim Greenfield is a cross between Ayn Rand and Monty Python. If enough people read this hilarious ‘man versus state’ book, the IRS will be put out of business, which is okay with me.

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

Screenwriter Flacco nicely evokes the aftermath of San Francisco's 1906 earthquake in his fiction debut, a novel of suspense.

I wrote a novel about the combat experiences I didn't have in Vietnam.

At DePauw, I was teaching writing and fiction. The things I wanted to teach, more than anything else, were form and theory of the novel, of narrative. I liked those classes.

Life matters more than any painting, novel, film, or great big diamond.

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.

I love to tell stories. I love to tell stories the way I tell them, not the way anybody else tells them. I am all the time writing a novel.

Originality is another criterion of aesthetic value. We may formulate an originality principle, according to which highly valuable works of art provide hitherto unavailable insights.... Notice that, although originality is a necessary condition of high aesthetic value, it is far from a sufficient condition. Many original works have little or no aesthetic value. An artwork may present a novel but uninteresting perspective, or one that is original but wrong.

A novel is not a summary of its plot but a collection of instances, of luminous specific details that take us in the direction of the unsaid and unseen.