Quotes About Novel

The novel ceases to be looked at as a novel. Such is the overwhelming power of motion pictures. Gore Vidal pointed out that the movies are the only thing anybody's really interested in. The association with movies and movie money can, and certainly did in my case, occlude a novel as a novel.

It's disingenous for me to say that I wasn't trying to write a moral novel. By its very nature as a novel about the Iraq War, Fobbit steps into the political conversation. There's no way to avoid that. I can appreciate that readers are probably going to line up on one side of the novel or the other. I hope they go to those polar extremes, actually.

Executive Severance, a laugh out loud comic mystery novel, epitomizes our current cultural moment in that it is born from the juxtaposition of authorial invention and technological communication innovation. Merging creative text with new electronic context, Robert K. Blechman's novel, which originally appeared as Twitter entries, can be read on a cell phone. His tweets which merge to form an entertaining novel can't be beat. Hold the phone; exalt in the mystery-engage with Blechman's story which signals the inception of a new literary art form.

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.

You know, the point of a novel - or to me, the point of a novel, the gift of a novel is to go really deeply inside people's lives and inside their personal experiences.

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 do like the idea of the novel of repressed college students being a contemporary novel of courtship! I guess what I would say to that is, we tend to think of historical periods and historical mores as ending a lot more concretely than they do. Like, in an Austen novel, there are lots of reasons - cultural, moral, religious - why the characters don't have sex during courtship. Maybe, even though those reasons have kind of expired, historically, they're still around in some sense.

The script in many ways is limiting and novel is liberating. You get to go into the heads of your characters and their background and have fun with them; something you are discouraged from doing with a script. With the novel, I can tell you what the characters are thinking, I can tell you their view of the world, background information, things I wouldn't dare touch in the script.

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.

The solution to the novel's legal problem is a satisfyingly intricate one, and nobody will want his money back on the plot. But the echoes that will remain in your mind after you've finished Reversible Errors will mainly have to do with the novel's other elements.

I don't see the direct correlation between my personal life and the novel I'm writing until I'm at the end of the novel or very close to it.

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.

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.

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.

When I was fifteen I wrote seven hundred pages of an incredibly bad novel - it's a very funny book I still like a lot. Then, when I was nineteen I wrote a couple hundred pages of another novel, which wasn't very good either. I was still determined to be a writer. And since I was a writer, and here I was twenty-nine years old and I wasn't a very good poet and I wasn't a very good novelist, I thought I would try writing a play, which seems to have worked out a little better.

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.

Writers are notoriously unable to know about themselves. Faulkner thought 'The Fable' was his best novel. F. Scott Fitzgerald liked 'Tender Is the Night,' an experimental novel.

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.

When I was writing my first novel, I smoked cigarettes. And when I think about what it was like to smoke, I remember exactly the feeling of sitting in front of my big old computer in that little room where I wrote my first novel.

Dialogue must appear realistic without being so. Actual realism-the lifting, as it were, of passages from a stenographer's take-down of a 'real life' conversation-would be disruptive. Of what? Of the illusion of the novel. In 'real life' everything is diluted; in the novel everything is condensed.

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.

I never know when I finish the novel I am writing which will be the next novel out of the station.

Elisabeth Sheffield's new novel is multilayered, smart, beautifully written, and funny. I was taken in by the first paragraph and held firmly through the roller coaster of a ride. The depth of the novel was evidenced by the constantly shifting meaning of the title itself. In fact, the entire work never changes its meaning, but somehow, seamlessly, simply means more. This is a rare and memorable piece of work.

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.

Characters to me are like sonnets, they have limits that you obey which allow a force to enter in, an invention that makes the novel possible. Change the limits and the force leaves. The novel becomes impossible.

There is a document in every novel in the world. Even in the most fantastic novel, even in science fiction, there is a documentary side. But, this side is not the crux of the matter.

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

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.

The process for writing a picture book is completely different from the process of writing a chapter book or novel. For one thing, most of my picture books rhyme. Also, when I write a picture book I'm always thinking about the role the pictures will play in the telling of the story. It can take me several months to write a picture book, but it takes me several years to write a novel.

The Chicago Way is a wonderful first novel. Michael Harvey has studied the masters and put his own unique touch on the crime novel. This book harkens the arrival of a major new voice.

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

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 novel is never really in the first draft. The novel really happens in the revisions.

What was fun for me with this book [Lincoln in the Bardo] was to start out with the principle that went, "We're going to fight every day to make this not a novel; make it too short to be a novel." And then with that principle in place, the book sort of starts to say, "Okay, but I really need this. I really need some historical nuggets." And you're like, "All right, but keep it under control."

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.

I first heard the term "meta-novel" at a writer's conference in Tulsa, Oklahoma. The idea is that even though each book in a series stands alone, when read collectively they form one big ongoing novel about the main character. Each book represents its own arc: in book one of the series we meet the character and establish a meta-goal that will carry him through further books, in book two that meta-goal is tested, in book three - you get the picture.

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.

A pornographic novelist is one who exploits the sexual instinct as a prostitute does. A legitimate sex novel elucidates it or brings out its poetry, tragedy, or comedy.

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.

A good novel is worth more then the best scientific study.

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.

My desire for knowledge is intermittent; but my desire to bathe my head in atmospheres unknown to my feet is perennial and constant. The highest that we can attain to is not Knowledge, but Sympathy with Intelligence. I do not know that this higher knowledge amounts to anything more definite than a novel and grand surprise on a sudden revelation of the insufficiency of all that we called Knowledge before,—a discovery that there are more things in heaven and earth than are dreamed of in our philosophy.

I'm constantly trying to figure out how to crack that mystery; how to make a novel that has a sense of immediacy of a short story. I try to do that and I'll try it again, but I'll never get it.

Inside the envelope with the letter was a little Princess Leia action figure USB flash drive. For me to store my novel on, since he was right - I never back up my computer's hard drive. The sight of it - it's Princess Leia in her Hoth outfit, my favorite of her costumes (how had he remembered?) brought tears to my eyes.

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.

The films of The Caine Mutiny and Marjorie Morningstar always seemed to me mere thin skims of the story lines, and I never did see a meager Hollywood caper called Youngblood Hawke, vaguely based on my 800-page novel. So it was that I opted for television, with its much broader time limits, for The Winds of War.