Quotes About Novel

The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole 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.

There are always differences when you adapt a novel to a film. A novel is longer so you're automatically cutting out elements and introspection but this is actually a film that stays very close to the novel.

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.

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.

Only one novel is a novel: that is a successful novel.

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.

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.

We live in a sea of general ideas, so that's not a novel, since there are so many general ideas. But the moment a particular idea is linked to a character, it's like an engine moves it. Then you have a novel underway.

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.

Most contemporary novels are not really "written." They obtain what reality they have largely from an accurate rendering of the noises that human beings currently make in their daily simple needs of communication; and what part of a novel is not composed of these noises consists of a prose which is no more alive than that of a competent newspaper writer or government official. A prose that is altogether alive demands something of the reader that the ordinary novel-reader is not prepared to give.

I have rarely read a more wonderful book than To Win Her Favor by Tamera Alexander. Rich with historical detail and fully developed characters, this novel held me spellbound until the last page. If you read one historical novel this year, make it To Win Her Favor. It will linger with you long after the last page.

I write what I can. I think being able to write like Michael Connelly and have a character that goes from novel to novel, or to dramatize history like Vidal or Ellroy, or have an explosively inventive mind like Bulgakov, would be an incredible thing. I don't have that. I only have what I have.

The Australian Gerald Murnane, a genius on the level of Beckett, is known in Australia and Sweden but almost nowhere else. And I loved Reality Hunger, David Shields' recent novel take on the art of the novel.

Certain kinds of things that the novel used to do, which was, "Oh, I'm living out here in West Nowhere, Nebraska and I'm curious how the upper class in New York City lives, I guess I'll read a novel about it." We don't have to do that now. You just turn on the TV. Turn on Lifestyles Of The Rich And Famous. You can get that information anywhere. Novels don't have to do that anymore.

The novel is the one bright book of life. Books are not life. They are only tremulations on the ether. But the novel as a tremulation can make the whole man alive tremble.

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.

I'll never forget reading Chekhov's "A Doctor's Visit" on a train to Hawthorne, New York, and I got to the end - the scene where the patient says goodbye to the doctor and she puts a flower in her hair as a kind of thank you to him - and I felt like a cowboy shot from a canyon's top. This is a different experience from reading a novel, I think. The emotional effect is cumulative. Let's just hope market forces don't send short fiction the way of the dinosaur, because their sales are paltry compared to the novel and this is truly unfortunate.

..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.

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."

Art is not politics. The glory of the novel is that in its essence, it is a democratic form, because it treats individuals as worthy of scrutiny. That alone is a kind of political act. A good novel about a tea party of rich women can be just as galvanizing and important to the soul as War and Peace, so I think it's not really the job of artists to do anything. They can have their opinions as private citizens, but they must continue making their art.

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.

People think that because a novel's invented, it isn't true. Exactly the reverse is the case. Biography and memoirs can never be wholly true, since they cannot include every conceivable circumstance of what happened. The novel can do that.

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.

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.

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 don't impose political responsibilities on my fiction. The last thing I would ever want to do, for example, is write a novel that would appear to want to tell people what to think about the immigration debate, and I would never write a novel whose sole ambition was to give a "positive" view of immigrants. I'm for open borders, by the way - down with the nation state!

I think I was also afraid of the novel. I write line by line, proceeding at snail's pace, rewriting as I go and paring the excess away. This is against all the best advice for writing long form prose, and I have tried over the years to break myself of the habit, but I can't bear to leave anything ungainly on the page and half the fun for me is that tinkering. So the length of a novel was a daunting prospect.

I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel you can get right inside somebody's head.

Anthropological fieldwork is so much like writing a novel. Granted, you don't have the physical disruption and disorientation, but writing a novel is like entering a new culture. You don't know what the hell is going on. And every day you feel like you have nothing, you're going nowhere. Or you feel that first it's going somewhere, but then you get into that horrible middle part.

Back in my 20s, when I wrote 'A Place of Greater Safety,' the French Revolution novel, I thought, 'I'll always have to write historical novels because I can't do plots.'' But in the six years of writing that novel, I actually learned to write, to invent things.

Writing the novel felt so private to me! I think publishing a novel is quite public and exposing, and what's a little frightening to me right now is the fact that it feels so entirely opposed to the privacy that is writing.

My remembrance of the past is a novel I am constantly recomposing; and it would not be a historical novel, but sheer fiction, if the material events which mark and ballast my career had not their public dates and characters scientifically discoverable.

The difference does not lie in the things that news does that novels do not do, but in the things that novels do that news cannot do. In other words, this basic technique of news - just one among many - is something a novel can use, but a novel can deploy a multitude of other techniques also. Novels are not bound by the rules of reportage. Far from it. They're predicated on delivering experience.

My medium is prose, not the novel.

Mathematics may be the only exception in the sciences that leaves no room for skepicism. But, if mathematical results are exact as no empirical law can ever be, philosophers have discovered that they are not absolutely novel - instead, they are tautological.

Every novel presents a slice of life. A noir policier for example presents one slice, one that perhaps addresses social dysfunction or some sort of pathology, while mine present a slice that is more upbeat and affirmative.

Who are those ever multiplying authors that with unparalleled fecundity are overstocking the world with their quick succeeding progeny? They are novel-writers.

Personally, I do not believe that it is the duty of any man or woman to write a novel. In nine cases out of ten, there would be greater merit in leaving it unwritten.

By nature, a storyteller is a plagiarist. Everything one comes across - each incident, book, novel, life episode, story, person, news clip - is a coffee bean that will be crushed, ground up, mixed with a touch of cardamom, sometimes a tiny pinch of salt, boiled thrice with sugar, and served as a piping-hot tale.

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.

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

'The Satanic Verses' was denied the ordinary life of a novel. It became something smaller and uglier: an insult.

Novels usually evolve out of 'character.' Characters generate stories, and the shape of a novel is entirely imagined but should have an aesthetic coherence.

At the emergence of the modern novel with Rabelais and Cervantes, all kinds of things were possible in a long-form prose work. Within a couple of hundred years, most of those possibilities were abandoned in favor of a text that efficiently transmitted sentiments.

An idea you have might not be original. But by creating a novel out of that idea you can make it original.

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

Even in traditional filmmaking, you're always trying to find novel ways of telling stories, and this is different.