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.

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.

The average detective story is probably no worse than the average novel, but you never see the average novel. It doesn't get published. The average -- or only slightly above average -- detective story does.... Whereas the good novel is not at all the same kind of book as the bad novel. It is about entirely different things. But the good detective story and the bad detective story are about exactly the same things, and they are about them in very much the same way.

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.

Madly, futilely, I wrote novel after novel, eight in all, that failed to find a publisher. I persisted because for me the novel was the supreme literary form: not just one among many, not a relic of the past, but the way we communicate to one another the subtlest truths about this business of living.

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.

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!

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.

For even satire is a form of sympathy. It is the way our sympathy flows and recoils that really determines our lives. And here lies the vast importance of the novel, properly handled. It can inform and lead into new places our sympathy away in recoil from things gone dead. Therefore the novel, properly handled, can reveal the most secret places of life: for it is the passional secret places of life, above all, that the tide of sensitive awareness needs to ebb and flow, cleansing and freshening.

Is it not superfluous to write more than one novel if the writer has not become, say, a new man? Obviously, all the novels of an author not infrequently belong together and are to a certain degree only one novel.

The art of the novel, however, has fallen into such a state of stagnation - a lassitude acknowledged and discussed by the whole of critical opinion - that it is hard to imagine such an art can survive for long without some radical change. To many, the solution seems simple enough: such a change being impossible, the art of the novel is dying.

After my first novel, my mother said to me, 'Why don't you make your writing more funny? You're so funny in person.' Because my first novel was rather dark. And I don't know, but something about what she said was true. 'Yes, why don't I?' Maybe I was afraid to be funny in the writing. But since then, seven books later, almost everything I've done has a comedic edge to it.

Philip Galanes makes his debut with a novel that is both heartbreaking and deftly comic, the story of a young man struggling with his most primitive desires--wanting and needing. It is a novel about the complex relationships between parents and children, a story of loss and of our unrelenting need for acknowledgment, to be seen as who we are. And in the end it is simply a love story for our time.

That's the difference between a real journal and one that's invented for a novel. A novel journal has to be manipulated so someone reading it can have enough comprehension, which means the person writing it would've had to have a sense of a someday-audience.

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.

A police procedural novel can be even funnier if the police include Trolls and Dwarves and things like that. You start looking at the whole basis of the cop novel. You get the cop moving in a different way when you've actually set it in a fantasy city.

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.

Often one finds surprises in a novel, but it is rare to find a novel that is a surprise. Richard Melo's 'Happy Talk' is just that. It is like a collision of William Gaddis, M*A*S*H and The Beguiled. It is a Haiti I could never have imagined and will not soon forget. These nurses are crazy and I wish I knew them.

When I was a kid, I'd go to the African-American section in the bookstore, and I'd try and find African-American people I hadn't read before. So in that sense the category was useful to me. But it's not useful to me as I write. I don't sit down to write an African-American zombie story or an African-American story about elevators. I'm writing a story about elevators which happens to talk about race in different ways. Or I'm writing a zombie novel which doesn't have that much to do with being black in America. That novel is really about survival.

I think the "crime novel" has replaced the sociological novel of the 1930s. I think the progenitor of that tradition is James M. Cain, who in my view is the most neglected writer in American literature.

My intention was never to write a "trans novel" - which is perhaps an effective strategy for writing a trans novel.

I felt more doubtful than usual with 'Goon Squad,' because I knew that the book's genre wasn't easily named - Novel? Stories? Novel-in-stories? - and I worried that its lack of a clear category would count against it. My hopes for it were pretty modest.

In his scintillating new novel, Matt Bondurant explores a crucial period in the history of Virginia and of his family. His gorgeous, precise prose brings to life an amazing cast of characters, including Sherwood Anderson, and the often deadly battles of Prohibition. The Wettest County in the World is a remarkably compelling, highly intelligent, and deeply moving novel.

I wrote my first novel and my second novel in Chicago. It was the place where I became a writer. It's my favorite city.

The novel is the affliction for which only the novel is the cure.

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.

This progressive effacement of human relationships is not without certain problems for the novel. How, in point of fact, would one handle the narration of those unbridled passions, stretching over many years, and at times making their effect felt on several generations? We’re a long way from Wuthering Heights, to say the least. The novel form is not conceived for depicting indifference or nothingness; a flatter, more terse, and dreary discourse would need to be invented.

Waiting for the Electricity is a wildly original and ambitious debut, a novel that tackles cultural clashes with satirical hilarity. I haven't read a first novel this promising since The Confederacy of Dunces.

A novel is never anything but a philosophy expressed in images. And in a good novel the philosophy has disappeared into the images.

A good novel cannot be too long or a bad novel too short.

There is, in fact, not much point in writing a novel unless you can show the possibility of moral transformation, or an increase in wisdom, operating in your chief character or characters. Even trashy bestsellers show people changing. When a fictional work fails to show change, when it merely indicates that human character is set, stony, unregenerable, then you are out of field of the novel and into that of the fable or the allegory. - from the introduction of the 1986 Norton edition

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.

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.

I don't categorize myself as an 85-year-old woman who has written an erotic novel. I categorize myself as a writer who's written an erotic novel.

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

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

ROMANCE, n. Fiction that owes no allegiance to the God of Things as They Are. In the novel the writer's thought is tethered to probability, but in romance it ranges at will over the entire region of the imagination . . .

I know publishing now more as an author than with occasional peaks inside those elite offices than as an industry insider. It was difficult publishing a novel the first time around, while working behind the scenes, knowing all that has to happen to make a book a success and to still make the leap as an author.

Steve Yarbrough's Safe from the Neighbors will take your breath away. Ambitious, funny, sad, smart, and beautifully crafted, it's everything a novel should be.

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

Every journalist has a novel in him, which is an excellent place for it.

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.

A novel is often a longer process in handling self-doubt.

Occasionally, very occasionally, say at four o’clock in the afternoon on a wet Sunday, she feels panic-stricken and almost breathless with loneliness. Once or twice she has been known to pick up the phone to check that it isn’t broken. Sometimes she thinks how nice it would be to be woken by a call in the night: ‘get in a taxi now’ or ‘I need to see you, we need to talk’. But at the best of times she feels like a character in a Muriel Spark novel – independent, bookish, sharp-minded, secretly romantic.

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.

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.

Be critical of but not brutal with your writing. If something isn't essential, get rid of it. Remember that good dialogue can serve a whole passel of purposes in your novel, and to overlook one of them is to overlook one of the tools of the craft. Like hitting a nail with a screwdriver, if you know what I mean.