Quotes About Novel

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.

I always was interested in prose. As a teenager, I published short stories. And I always wanted to write the long short story, I wanted to write a novel. Now that I have attained, shall I say, a respectable age, and have had experiences, I feel much more interested in prose, in the novel. I feel that in a novel, for example, you can get in toothbrushes and all the paraphernalia that one finds in dally life, and I find this more difficult in poetry.

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.

If I had a plot that was all set in advance, why would I want go through the agony of writing the novel? A novel is a kind of exploration and discovery, for me at any rate.

The novel is a perfect medium for revealing to us the changing rainbow of our living relationships. The novel can help us to live,as nothing else can: no didactic Scripture, anyhow. If the novelist keeps his thumb out of the pan.

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 always wanted to write. While I was on a long surf trip, supporting myself with various day jobs, I was working hard on a novel. My third novel, in fact.

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.

I'm always interested in the way people speak and move in their environment, in a very particular environment. I'm never interested in writing a kind of neutral, universal novel that could be set anywhere. To me, the any novel is a local thing always.

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.

Yes sir. You can be more careless, you can put more trash in [a novel] and be excused for it. In a short story that's next to the poem, almost every word has got to be almost exactly right. In the novel you can be careless but in the short story you can't. I mean by that the good short stories like Chekhov wrote. That's why I rate that second - it's because it demands a nearer absolute exactitude. You have less room to be slovenly and careless. There's less room in it for trash.

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.

If only a group of people were more important to me than the idea of a Novel, I might begin a novel.

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 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.

Shut the door, they're coming through the window, shut the window, they're coming through the door," are the words to an old song. They fit my lifestyle with newly arriving butcher/censors every month. Only six weeks ago, I discovered that, over the years, some cubby-hole editors at Ballantine Books, fearful of contaminating the young, had, bit by bit, censored some 75 separate sections from the novel. Students, reading the novel which, after all, deals with censorship and book-burning in the future, write to tell me of this exquisite irony.

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.

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.

A novelist writes a novel, and people read it. But reading is a solitary act. While it may elicit a varied and personal response, the communal nature of the audience is like having five hundred people read your novel and respond to it at the same time. I find that thrilling.

I love short stories - reading and writing them. The best short stories distill all the potency of a novel into a small but heady draught. They are perfect reading material for the bus or train or for a lunchtime break. Everything extraneous has been strained off by the author. The best short stories pack the heft of any novel, yet resonate like poetry.

Mr. Robinson and Mr. Kovite have...written a captivating coming-of-age novel that is, by turns, funny and sad and elegiac -\-\ a novel that leaves us with some revealing snapshots of America, both at war and in denial, and some telling portraits of a couple of millennials trying to grope their way toward adulthood.

I was heavily influenced by my first attempt at a novel. I started a fantasy novel back in high school, and... well... it really sucked. It was a plotless, clichéd mess.

Newt Gingrich wrote a novel, and he's a short story. Bill Clinton wrote a biography, and he's a novel.

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 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.

A good novel is an indivisible sum; every scene, sequence and passage of a good novel has to involve, contribute to and advance all three of its major attributes: theme, plot, characterization.

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

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

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."

It means that no matter what you write, be it a biography, an autobiography, a detective novel, or a conversation on the street, it all becomes fiction as soon as you write it down.

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.

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 . . .

Every once in a while I feel the tremendous force of the novel. But it does not stay with me.

I can see myself wanting to write a historical novel - you don't need to worry about references to reality TV or pop music, you can just get on with the basics of story and character.

I follow my own nose. So I read things that are different. People will always say to me, "Have you read Robert S. Bosco's latest novel?" or "Have you read so and so's history of Peru, which is reviewed in the New York Review of Books and the New York Times and has a buzz about it?" I don't even know what you're talking about. I'm like from another planet. I'm a pygmy from the jungle.

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.

I don't think anyone has written a great graphic novel.

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.

I think that's true of real life - we don't ever know anyone completely. Secrets are very important to creating a narrative work that's believable. The characters come into that world with secrets, as happens to all of us. As honest as we try to be in our relationships, we can never completely know someone. From a narrative perspective it's very important and pleasing - you want to have those secrets there. The secret is an essential part of the creation of the novel.

Proust is a hero of mine. I read 'A la recherche' in one go, and I'm a very slow reader. It had an astonishing impact, reading it on my own and being my main company. I think Proust is the most intelligent person to ever have written a novel.

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

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

Two years ago it felt novel to do the East Side and then tons of other stuff have come up set in that world, but we still liked it. It felt like people are using East Side in other shows because it is cool.

That was always my hope that that is exactly what I would do. It was always part of the dream of this story - to write the novel and then direct the movie.

Between history and the novel stands biography, their unwanted offspring, which has brought a great embarrassment to them both.

Being published is not a necessary validation or a path everyone wants to take with their work. Writing—and finishing—a novel is a great thing in itself, whether or not the book is published, or becomes widely-read or not.

My current novel, Pallas, is all about that culture war - in fact it's been called the Uncle Tom's Cabin of the Sagebrush Rebellion - and yet what I hear all too often from libertarians is that they don't read fiction.