Quotes About Novels

In Pakistan, many of the young people read novels because in the novels, not just my novels but the novels of many other Pakistani writers, they encounter ideas, notions, ways of thinking about the world, thinking about their society that are different. And fiction functions in a countercultural way as it does in America and certainly as it did in the, you know, '60s.

All middle-class novels are about the trials of three, all upper-class novels about mass fornication, all revolutionary novels about a bad man turned good by a tractor.

Movies are not novels, and that's why, when filmmakers try to adapt novels, particularly long or complex novels, the result is almost always failure. It can't be done.

I certainly think we're going to see more and more graphic novels and more illustrated novels.

It’s the ability to bring events and characters to a resolution that draws me to writing, especially writing for children. I don’t want to ever be didactic, but if there’s something I do want to say, it’s that you can bring things around. You can make a change. Adult novels are about letting go. Children’s novels are about getting a grip.

I read Claire Messud's 'The Emperor's Children,' I read Joseph O'Neill's 'Netherland' - but to me, they're not 9/11 novels. In 'The Emperor's Children,' 9/11 felt to me like a piece of the plot; the novel wasn't wrestling with what 9/11 meant. And 'Netherland' felt the same way. I liked both books a lot but I don't see them as 9/11 novels.

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.

I would be rejected if I submitted any of my novels as romance novels.

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 don’t like to make strong statements. I want to write strong novels … I keep my deep radical things for my novels.

I prefer short stories, but publishers would, of course, rather that writers produce novels, since novels are still more commercially viable.

If you enjoy math and you write novels, it's very rare that you'll get a chance to put your math into a novel. I leapt at the chance.

Until you can become accountable to yourself and only yourself, you're probably not going to live a fully vital life. So much of literature is about accountability. The moral issues in most novels are about people becoming responsible for their own behaviour. One of the forces against being responsible for your own behaviour is the force of the past, in the way that the past tries to form you.

I've never seen novels as built things. I have a tendency to see them as found things so that I always feel a little bit like an archaeologist who's working to get some fragile fossil out of the ground. And the more you get out unbroken, the better you succeed.

Short stories and some short novels are close to poetry--with the fewest words they capture the essence of a situation, of a human being. It's like trying to pin down the eternal moment.

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

My novels are about the European reality, not about chases. You want chases, get somebody else's books.

Comics are stories; they're like novels or anything else. So the first thing you have to do is become a good storyteller.

Well, in Angel of Hope, Amber ends up going in her sister's stead. The focus of that book and the next one coming out, Angel of Love, is how she finds her way out of her sister's shadow and into herself. That's really what those two novels are based on.

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.

Novels are almost like music or poetry - they just come to me in simple sentences, whereas I think my pieces get more and more complex ever since I've started using a computer.

I'm my own "ideal reader" in the sense that I write novels that I would want to read.

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.

My dad was always such a frustrated artist. He always worked very hard to support his family, doing a bunch of ridiculous jobs. He wanted to be a painter, but then he also wrote science-fiction novels in his spare time. He was always so frustrated having to work to support the family that I was like, I'm never going to do that. I don't want to just be working a menial job to support my family and dreaming of being an artist. We learn from our fathers in that way.

I read what I like to write: romantic suspense. I also love thrillers and novels of suspense, but I can't handle extreme violence and torture.

Graphic novels are not traditional literature, but that does not mean they are second-rate. Images are a way of writing. When you have the talent to be able to write and to draw, it seems a shame to choose one. I think it's better to do both.

People used to expect literary novels to deepen the experience of living; now they are happy with any sustained display of writerly cleverness.

Traditionally, people have been adapting novels and short stories forever. Now, they're doing it simultaneously, with an eye towards writing the movie before the novel has even come out or been finished. It's a function of this hyper-accelerated society we live in, where everyone is trying to short circuit the process.

I don't see myself as a very important person. But I was the second woman to write a novel in Iran, and I have written most of the novels about Iranian women. In this way, maybe I have a good place in Iranian literature.

Crazy girls did this, girls who walked like zombies through YA novels. But. Trixie felt the sting of the skin as it split, the sweet welling rise of blood. It hurt, though not as much as everything else idd.

So many Indian novels, quite unfairly, do not get the prominence they should because they have been written in a language other than English.

At the height of the British Empire very few English novels were written that dealt with British power. It's extraordinary that at the moment in which England was the global superpower the subject of British power appeared not to interest most writers.

I sometimes think it ironic for an ex-seaman, longshoreman, truck driver, policeman, bus driver, etc... to find success writing children's novels.

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.

Narrativity presumes a special taste for plot. And this taste for plot was always very present in the Anglo-Saxon countries and that explains their high quality of detective novels.

No one of the characters in my novels has originated, so far as I know, in real life. If anything, the contrary was the case: persons playing a part in my life--the first twenty years of it--had about them something semi-fictitious.

Wasn't it his right to listen to opera, read poetry and adventure novels, go to Europe every couple of months for some reason or another, and drive his Porsche over the speed limit until he found out who he was?

Well, I think in my first two novels, both the characters are pretty neurotic, which I would say that I am.

I get and read an enormous number of first novels.

It was the ponderous battering ram of his novels that opened the way through the genteel reticences of American nineteenth-century fiction. . . Without [Theodore] Dreiser's treading out a path for naturalism none of us would have had a chance to publish.

The love of novels is the preference of sentiment to the senses.

I used to feel for years and years and years that I was very remiss not to have written a novel and I would question people who wrote novels and try to find out how they did it and how they had got past page 30. Then, with the approach of old age, I began to just think: “Well, lucky I can do anything at all.

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

Get Carter remains among the great crime novels, a lean, muscular portrait of a man stumbling along the hard edge - toward redemption. Ted Lewis cuts to the bone.

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 can remember as a college student writing stories and novels, some of which ended up getting published and some that didn't. It was like my head was going to burst - there were so many things I wanted to write all at once. I had so many ideas, jammed up. It was like they just needed permission to come out.

I don't write fantasy; I write historical novels about an imaginary place.