Quotes About Novels

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.

As to the number of novels I've abandoned... I shudder to think. I have thrown away five completed novels, and that's a gruesome enough figure. But not necessarily a waste of effort.

The structure of my novels has nothing to do with the narrative mode of cinema. My novels would be very difficult to film without ruining them completely. I think this is the area where writers need to place ourselves: from a position of absolute modernity and contemporaneity, creating a culture of objects which cinema cannot.

I think overtly political novels - those that never transcend or contest their author's conscious intentions and prejudices - are problematic. This is not just true of the innumerable unread books in the socialist realist tradition, but also of novels that carry the burden of conservative ideologies, like Guerrillas, Naipaul's worst book, where the author's disgust for a certain kind of black activist and white liberal is overpowering.

All I am in private life is a literary critic and historian, that's my job...And I'm prepared to say on that basis if anyone thinks the Gospels are either legends or novels, then that person is simply showing his incompetence as a literary critic. I've read a great many novels and I know a fair amount about the legends that grew up among early people, and I know perfectly well the Gospels are not that kind of stuff.

As far as benefits to reading historical novels, there are several! For one thing, you learn about life in another era. Secondly, these novels help us to develop a deeper understanding of the legacy of women who came before us and the strides made by our ancestors.

Romance novels are birthday cake and life is often peanut butter and jelly. I think everyone should have lots of delicious romance novels lying around for those times when the peanut butter of life gets stuck to the roof of your mouth.

I entered a poem in a poetry contest around 1987, and the poem won and I received $1,000 for it. That made me realize that maybe what I was writing was worth reading to people. After that, for some reason, I turned to novels and I've written mainly novels ever since.

I keep thinking I'll enjoy suspense novels, and sometimes I do. I've read about 20 Dick Francis novels.

Growing up devouring horror comics and novels, and being inspired to become a writer because of horror novels, movies, and comic books, I always knew I was going to write a horror novel.

Novels need readers of a certain kind, people who are patient and enjoy immersing themselves in another perspective for uninterrupted stretches of time. Reading habits might well be changing. People who pay for novels might overlap significantly with those who engage in Twitter and Facebook.

The novels were an escape from reality in the sense that we could marvel at their beauty and perfection. Curiously, the novels we escaped into led us finally to question and prod our own realities, about which we felt so helplessly speechless.

Lately I've been thinking about the idea that all novels are, at least in some way, about the process of writing a novel - that the construction of the book and the lineage of people constructing novels are always part of the story the author is telling. I think the equivalent for memoir should be that all memoirs are, in some way, about the process of memory. Memoirs are made out of a confusing, flawed act of creation.

Novels seem to exist because of this need to know and connect, and so story becomes charged with necessity.

It is quite possible--overwhelmingly probable, one might guess--that we will always learn more about human life and personality from novels than from scientific psychology

A news junkie, I read, daily, the 'Times/Sunday Times,' the 'Guardian/Observer,' 'Mail,' and the 'Argus' - both to keep up with crime in Brighton, where I set my novels, and because I think it is vital to support local papers - they provide a unique accountability for councils, emergency services and so much else, and are dangerously undervalued.

If the novels are still being read in 50 years, no one is ever going to say: 'What's great about that sixth book is that he met his deadline!' It will be about how the whole thing stands up.

I know I'm not a wordsmith. And I don't write poetry. Sometimes I think I should, because it's really helpful. But I always wanted to write novels.

I usually have more than one thing I'm working on at once - I've been working on three different novels. When I get stuck on one, I hop back and forth.

Jeremy Popkin's collection of first-person narratives of the Haitian Revolution is an extremely valuable work, accessible, sound and intelligent. I only wish such a book had been available fifteen years ago when I was in the early stages of researching my series of novels. Popkin has been deft and tactful in stitching together these excerpts, and as a result, he manages to tell a complete version of the Revolution almost entirely in the words of the people who experienced it-this book engaged me deeply.

Men and women make their own beauty or their own ugliness. Sir Edward Bulwer Lytton speaks in one of his novels of a man "who was uglier than he had any business to be;" and, if we could but read it, every human being carries his life in his face, and is good-looking or the reverse as that life has been good or evil. On our features the fine chisels of thought and emotion are eternally at work.

A novel, for me, relies on my imagination to inspire your (the reader's) imagination. It is not all there for you. My novels or my stories come to me visually. I use words to translate the novel I see inside my head into words that I hope will create a movie inside your head.

I also read modern novels - I have just had to read 60 as I am one of the judges for the Orange Fiction Prize.

I looked at the world of books and just went, Oh my gosh, if I'm writing novels, I'm on the same shelves as Jane Austen and Charles Dickens and Petronius - whereas with comics, they've only been doing them for a hundred years, and there's stuff that nobody's done before. I think I'll go off and do some of the stuff no one's ever done before.

As well as Japanese animation, technology has a huge influence on Japanese society, and also Japanese novels. It's because before, people tended to think that ideology or religion were the things that actually changed people, but it's been proven that that's not the case. Technology has been proven to be the thing that's actually changing people. So in that sense, it's become a theme in Japanese culture.

I think of myself as a serious professor who, during the weekend, writes novels.

The question I hate the most is "How did you DO it - write novels and raise your children simultaneously!" I mean, do MALE authors get asked that??

I love general history. That's all I read really. I don't read novels, I read history. I love it. I live in an area that's really rich in Civil War history. I live in Kentucky on a farm. A lot of revolution, a lot of military history I love.

I often use detective elements in my books. I love detective novels. But I also think science fiction and detective stories are very close and friendly genres, which shows in the books by Isaac Asimov, John Brunner, and Glen Cook. However, whilst even a tiny drop of science fiction may harm a detective story, a little detective element benefits science fiction. Such a strange puzzle.

When I was in college I started writing prose, because a very smart professor asked me what I like to read and I said, "Novels," and she said, "You should be writing them then." Memoir never even occurred to me. I think I was afraid of nonfiction and I was afraid of navel-gazing, and of being seen.

Writing is akin to method acting. Before the writer can render a fully convincing world, he or she must inhabit that world, and every major character who lives there. I'm not suggesting that one always has to go this far. But I truly believe what makes the setting for my novels come alive is that I've lived there first.

All the great novels, all the great films, all the great dramas are fictions that actually tell us the truth about us or about human nature or about human situations without being tied into the minutia of documentary events. Otherwise we might as well just make documentaries.

Nobody told me how hard it was going to be to get published. I wrote four novels that nobody wanted, sent them out all over, collected hundreds and hundreds of rejection slips.

I think of my books now as suspense novels, usually with a love story incorporated. They're absolutely a lot harder to write than romances. They take more plotting and real character development.

Novels should be judged rigorously. Either a book works or it doesn't. The fact that something is true in the real world should not lend authority to it in fiction.

I must love big novels, because that's what I've written. It takes a while before you begin to breathe the air the characters breathe.

Novels are about men and women and children and dogs, not politics.

The other thing that I got back then - the Parker novels have never had much of anything to do with race. There have been a few black characters here and there, but the first batch of books back then, I got a lot of letters from urban black guys in their 20s, 30s, 40s. What were they seeing that they were reacting to? And I think I finally figured it out - at that time, they were guys who felt very excluded from society, that they had been rejected by the greater American world.

I am satisfied that if a book is a good one, it is so whatever the sex of the author may be. All novels are or should be, written for both men and women to read, and I am at a loss to conceive how a man should permit himself to write anything that would be really disgraceful to a woman, or why a woman should be censured for writing anything that would be proper and becoming for a man.

Like so many aspiring writers who still have boxes of things they've written in their parents' houses, I filled notebooks with half-finished poems and stories and first paragraphs of novels that never got written.

A ruling passion gives to a shelf of novels the unity of a system.

I get and read an enormous number of first novels.

Lonesome Dove is a great book that had the rare fortune of being made into a great movie. And now, through Bill Wittliff's photographs, we have a third generation of Lonesome Dove artistry. The same creative power and conviction that allowed Larry McMurtry to transform a workaday scenario for an unproduced screenplay into one of the greatest novels of our time, and that transformed that novel into the greatest western movie ever made, are on display in this collection. A Book of Photographs from Lonesome Dove is a masterpiece begot by a masterpiece begot by a masterpiece.

Poorly written novels--no matter how pious and edifying the behavior of the characters--are not good in themselves and are therefore not really edifying.

Primarily I am a passionately religious man, and my novels must be written from the depth of my religious experience.

I don't know who said that novelists read the novels of others only to figure out how they are written. I believe it's true. We aren't satisfied with the secrets exposed on the surface of the page: we turn the book around to find the seams.

I look on my life as raw material for my novels: that's just the way I am, and it frees me from any inhibitions.

One of the unfortunate things about creative writing courses is that they make people impatient. People feel that they have prepared themselves and that they must now do it. In fact there are positive incentives for doing so - universities are offering degrees for writing novels.