Quotes About Novel

I have never started a novel - I mean except the first, when I was starting a novel just to start a novel - I've never written one without rereading Victory. It opens up the possibilities of a novel. It makes it seem worth doing.

To read a novel requires a certain kind of concentration, focus, devotion to the reading. If you read a novel in more than two weeks, you don't read the novel really.

The novel since its origins has been the privatization of history... the history of private life ... and in that sense every novel is an historical novel.

If I can give a young author any advice, whatsoever, never let anyone announce the film sale of your first novel. Film rights are sold to almost every novel, but it shouldn't be the lead story in your first engagement with the press. Then you end up getting reviews like "a novel made for the screen" and things like that.

A novel is not an allegory.... It is the sensual experience of another world. If you don't enter that world, hold your breath with the characters and become involved in their destiny, you won't be able to empathize, and empathy is at the heart of the novel. This is how you read a novel: you inhale the experience. So start breathing.

When you go through life ... it all seems accidental at the time it is happening. Then when you get on in your 60s or 70s and look back, your life looks like a well-planned novel with a coherent theme ... Incidents that seemed accidental, pure chance, turn out to be major elements in the structuring of this novel. Schopenhauer says, 'Who wrote this novel? You did.'

The age of the book is not over. No way... But maybe the age of some books is over. People say to me sometimes 'Steve, are you ever going to write a straight novel, a serious novel' and by that they mean a novel about college professors who are having impotence problems or something like that. And I have to say those things just don't interest me. Why? I don't know. But it took me about twenty years to get over that question, and not be kind of ashamed about what I do, of the books I write.

I think the success of every novel - if it's a novel of action - depends on the high spots. The thing to do is to say to yourself, 'Which are my big scenes?' and then get every drop of juice out of them. The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through?

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 always think I know the way a novel will go. I write maps on oversized art pads like the kind I carried around in college when I was earnest about drawing. I need to have some idea of the shape of the novel, where its headed, so that I can proceed with confidence. But the truth is my characters start doing and saying things I don't expect.

Yes, there's a relaying of internal states that only a novel can achieve. In my view, the novel is one of Europe's greatest gifts to the world. America and Africa collaborated to give the world jazz. We'll call it even.

I am a master of fiction. I am also the greatest crime novelist who ever lived. I am to the crime novel in specific what Tolstoy is to the Russian novel and what Beethoven is to music.

I would like to write a novel, or at least try to write one, although my motives are not entirely pure. For one thing, I get asked about writing novels so much that I feel guilty about never having written one. And although I have no strong desire to write a novel, I would hate not to try. That would just be silly. On the other hand, I hate the idea of slogging through something that turns out to be not good.

... a novel survives because of its basic truthfulness, its having within it something general and universal, and a quality of imaginative perception which applies just as much now as it did in the fifty or hundred or two hundred years since the novel came to life.

Just when you thought the mafia novel was dead, Tod Goldberg breathes new life into it. Gangsterland, the best mafia novel in years, is a dark, funny, and smart page-turning crime story. It's also a moving, thoughtful meditation on ethics, religion, family, and a culture that eats itself. I loved this book.

Most really good fiction is compelled into being. It comes from a kind of uncalculated innocence. You need not have your ending in mind before you commence. Indeed, you need not be certain of exactly what's going to transpire on page 2. If you know the whole story in advance, your novel is probably dead before you begin it. Give it some room to breathe, to change direction, to surprise you. Writing a novel is not so much a project as a journey, a voyage, an adventure.

You could say that this book is ripped from the headlines, but that wouldn't be fair. Bret Anthony Johnston's riveting novel picks up where the tabloids leave off, and takes us places even the best journalism can't go. Remember Me Like This is a wise, moving, and troubling novel about family and identity, and a clear-eyed inventory of loss and redemption.

From the beginning [of the Lincoln in the Bardo], I actually had it in mind not to write a novel. I'd kind of gotten past that point where I felt bad for never having written a novel, even to where I felt really good about it, like I was a real purist.

If a novel reveals true and vivid relationships, it is a moral work, no matter what the relationships consist in. If the novelisthonours the relationship in itself, it will be a great novel.

I think with something like Watchmen you can genuinely call that a graphic novel because it has the weight and the intent of a proper novel and it also is the complete story.

The writer's job is not to write a novel, hold it up and say, “Here I am,” but to write a novel, hold it up and say, “Here YOU are.

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.

..The truly fraudulent claims must be discarded. But novel methods of therapy should not be rejected because they are novel, or because they run counter to some generally accepted belief ("which may just be biased"), or because we do not understand the mechanism of the proposed treatment, or because it has come from an unconventional source.

Reading a novel, War and Peace for example, is no Catnap. Because a novel is so long, reading one is like being married forever to somebody nobody knows or cares about.

Listening to people discussing a novel can be very interesting, if you've read whatever novel is being discussed. No one, it seems, ever says, "This is a great book but I didn't like it." Taking a little time to think about why this might be has been very liberating.

I don't begin a novel with a shopping list - the novel becomes my shopping list as I write it.

A human being creates complexity by writing a novel on the surface of paper; a weather system creates complexity by writing waves on the surface of an ocean. What is the difference between the information carried in the words of a novel and the information carried on the waves of the sea? Listen, and the waves will speak, and someday, I tell you, you will write your thoughts on the surface of the sea.

A good novel is one that shows the complexity of individuals, and creates enough space for all these characters to have a voice; in this way a novel is called democratic - not that it advocates democracy but that by nature it is so. Empathy lies at the heart of Gatsby, like so many other great novels - the biggest sin is to be blind to others' problems and pains. Not seeing them means denying their existence.

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.

The characters in my novels are my own unrealized possibilities. That is why I am equally fond of them all and equally horrified by them. Each one has crossed a border that I myself have circumvented. It is that crossed border (the border beyond which my own "I" ends) which attracts me most. For beyond that border begins the secret the novel asks about. This novel is not the author's confession; it is an investigation of human life in the trap the world has become.

There is no denying that we are suffering from a collective neurosis and the novel which does not face this is not a novel of our time.

I've never been that person who thought that because I've written one novel, I should write another and another. It's only when there was another novel to write that I was going to write another.

A short story is a sprint, a novel is a marathon. Sprinters have seconds to get from here to there and then they are finished. Marathoners have to carefully pace themselves so that they don't run out of energy (or in the case of the novelist-- ideas) because they have so far to run. To mix the metaphor, writing a short story is like having a short intense affair, whereas writing a novel is like a long rich marriage.

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.

Before I begin a novel I have a strong sense of at least one central character and how the story begins, and a more vague sense of where things may wind up, but at some point, if the novel is any good at all, the story and characters take on lives of their own and take over the book, and the writer has to be open to that.

I think the term "artist's novel" for me has referred to writing which supports an art practice or a more specifically a particular artwork or project. The nonfiction novellas and nonfiction novel I have written play a role in my artwork as objects - which I will return to, but I write the books to exist autonomously.

And it is a folly to try to craft a novel for the screen, to write a novel with a screen contract in mind.

I'm trying to keep it fresh for me. I'm just trying to not bore myself. And if I can do a detective novel, and if I can do a horror novel, then why do it again? To keep the work challenging I have to keep moving.

The book is almost always better than the movie. You could have no better case in point than FROM HELL, Alan Moore's best graphic novel to date, brilliantly illustrated by Eddie Campbell. It's hard to describe just how much better the book is. It's like, "If the movie was an episode of Battlestar Galactica with a guest appearance by the Smurfs and everyone spoke Dutch, the graphic novel is Citizen Kane with added sex scenes and music by your favourite ten bands and everyone in the world you ever hated dies at the end." That's how much better it is.

I do not share the pessimism of the age about the novel. They are one of our greatest spiritual, aesthetic and intellectual inventions. As a species it is story that distinguishes us, and one of the supreme expressions of story is the novel. Novels are not content. Nor are they are a mirror to life or an explanation of life or a guide to life. Novels are life, or they are nothing.

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 better a novel is, in literary terms, the more you can't be faithful. The novel succeeds on terms exclusive to literature. A good film succeeds on terms exclusive to the cinema. That's why so many bad novels can become good movies.

Andy Harp's RETRIBUTION is a stunner: a blow to the gut and shot of adrenaline. Here is a novel written with authentic authority and bears shocking relevance to the dangers of today. It reminds me of Tom Clancy at his finest. Put this novel on your must-read list-anything by Harp is now on mine.

I write easily, let's put it that way. And in a novel particularly, the characters take over. And they tell me what to say and they tell me what they're doing. And I'm a third of the way into a novel and then I just let the characters finish it for me.

Yes. To write a novel is to risk my sanity. The deeper I get into the suffering and conflict of the characters, into the very situations and thoughts and feelings that make the novel worthwhile, the worse I feel, and the more likely I am to be severely depressed when the book is finished. There is no avoiding this: it is the result of attempting to tell all you know, to reach for the stars, to write what matters.

A man who is not born with the novel-writing gift has a troublesome time of it when he tries to build a novel. I know this from experience. He has no clear idea of his story; in fact he has no story. He merely has some people in his mind, and an incident or two, also a locality, and he trusts he can plunge those people into those incidents with interesting results.

Cormoran Strike is an amazing creation and I can't wait for his next outing. Strike is so instantly compelling that it's hard to believe this is a debut novel. I hope there are plenty more Cormoran Strike adventures to come. A beautifully written debut novel introducing one of the most unique and compelling detectives I've come across in years.

The field of the novel is very rich. If you're a composer, you're well aware of the history of composition, and you are trying to make your music part of that history. You're not ahistorical. In the same way, I think, if you write now, you are writing in the historical context of what the novel has been and what possibilities it has revealed.