Quotes About Novels

Good novels are not written by orthodoxy-sniffers, nor by people who are conscience-stricken about their own unorthodoxy. Good novels are written by people who are not frightened.

The writer I feel the most affinity with - you said you felt my books are 19th century novels, I think they're 18th century novels - is Fielding, Henry Fielding, he's the guy who does it for me.

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.

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 write what I want to write. Period. I don't write novels-for-hire using media tie-in characters, I don't write suspense novels or thrillers. I write horror. And if no one wants to buy my books, I'll just keep writing them until they do sell--and get a job at Taco Bell in the meantime.

My first seven novels were contemporary spiritual novels, my next nine had strong elements of fantasy, and now I'm writing thrillers, more as a choice to spread my wings than anything. Writers, like good wine, should mature with age.

One of the things that's exciting for me about this novel is that, to me, Brookland and The Testament of Yves Gundron were both, in certain regards, crypto-steampunk. They're both books that are interested in an alternate technological past that in fact didn't historically come to pass. If you were to ask me what my novels were about, I would say, well, these are novels about technology and how we relate to technology and what technology means.

I think in general, novels by men tend to be taken more seriously than novels by women.

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. It's sort of freeing: I can say I'm abandoning this thing that I hate forever and I'm moving on to something that's good. I'll find that I'll go back to [the other project] in a day or a week and like it again. But that moment of wanting to trash something -- that Virginia Woolf moment when you have to be stopped from filling your pocket with stones -- comes pretty regularly for me. Switching is probably a good thing.

With Ibrahim al-Koni, what I figured out was - and you'll see this in his novels - if your time is limited, make the unit of the chapters small so that you can finish one a day, at least in the first draft. Once you have the first draft it's living, and you can coax it to grow and trim it and reshape it and so on. But get that first draft. I think if I'd gone to an MFA program and learned that, it would have been money well spent. But translation has been that for me.

I do novels a bit backward. I look for a situation, a milieu first, and then I wait to see who walks into it.

What I loved about romances was the character, and I think I still bring that to my novels. What romance taught me was that the 'who' will always matter more than the 'what.' It's fun to come up with plots, but I want to make sure the reader cares about who it's happening to.

Wendy Doniger has spent decades collecting not only myths from ancient texts but stories of all kinds from novels, movies, newspapers about an old mystery: what has or hasn't happened in bed for centuries. Rich in insights about sex, lies, and personal identity, the result is entertaining, enthralling, and, yes, sexy.

I consciously try to end my novels at a point where I won't have to wonder about my characters ever again.

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 don't do research for my novels. Obviously, in my other line of work as a reporter and a columnist, I've had the opportunity to get to know both social workers and TV talk-show hosts.

Madame Bovary is one my favorite novels. Emma Bovary will always be an enigma, but as the years pass, I feel that I understand her better. She has a violent nostalgia, almost an infantile nostalgia, to be understood by the men surrounding her. I like her relentless fight for independence, her rebellion against the mediocre, and her quest for the sublime, even if she burns her wigs in the process. I like that Flaubert never judges her morally for her self-destructiveness, for her desperate attempt to satisfy her wildest desires and appetites.

If no one speaks out for [young readers], if they don’t speak out for themselves, all they’ll get for required reading will be the most bland books available. Instead of finding the information they need at the library, instead of finding novels that illuminate life, they will find only those materials to which nobody could possibly object... In this age of censorship I mourn the loss of books that will never be written, I mourn the voices that will be silenced — writers’ voices, teachers’ voices, students’ voices — and all because of fear.

My evolution into becoming a photojournalist started with falling in love with literature when I was a teenager, falling in love with novels and imagining a life of being a storyteller.

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.

In most novels, the landscape, or the place, in which the story takes part is simply a backdrop to the human action.

One good reason for writing novels based on your life is that you have something to read in old age when you've forgotten what happened.

I really believe that readers are smart and sophisticated enough to realize that the author is not the narrator of his novels.

I've always loved writing emotionally rich, character-driven novels that explore the way people fall in love and deal with life's triumphs and tragedies. I enjoy writing the contemporary and historical books equally, though perhaps 'enjoy' is the wrong word.

the slight sense of degeneracy induced by reading novels before luncheon

My novels and poems are meant to be read aloud. That's why jazz musicians have been able to adapt my stuff.

I'm never going to be a Tom Clancy. And I wouldn't really want to be - not that I have anything against him, and I wish him continued success - because that's not why I'm writing novels. I'm doing it because I have to. I feel like I have to, anyway.

Well, I kind of approach both of them similarly in (that) I always see it as a movie first because that's my background. Cindy Kelley, who has been my writing partner on my novels, she works more on the prose side and the description side of the storytelling because, obviously, there's a lot more of that in a novel than in a screenplay. You only have up to 120 pages in a screenplay.

We do seem, as a culture, to fetishize the "sweep." But I know there's room for "big" short, fierce novels, and "big" solid ones.

I received so many positive comments about the quotes that I decided to continue to use them in my novels.

Novels are sweets. All people with healthy literary appetites love them-almost all women; a vast number of clever, hardheaded men.

I've loved 'Vanity Fair' since I was 16 years old. You know, we're all colonial hangovers in India, steeped in English literature. It is one of these novels that I read under the covers at my convent boarding school in Simla.

I have heard of novels started in the middle, at the end, written in patches to be joined together later, but I have never felt the slightest desire to do this.

Until I was a junior in high school, I was a "boy scientist" type and expected to go into chemistry. Then I discovered the humanities. I read the plays of Shakespeare voraciously, some novels, such as Pasternack's Dr. Zhivago and Sinclair Lewis' Main Street, and I got into philosophy by reading Kierkegaard and Nietzsche.

Often in gothic novels there's a large house, an estate, and it's symbolic of that culture. Usually it's sort of moldering or rotted or something, and sometimes it's a whole community.

In two novels written forty years apart, a man and a woman tell stories of their love. . . . Taken together they provide an unusually touching story of young love unable to prevail against an opposition whose strength was tragically buttressed by the uncertainties of a cultural divide.

When I was a teenager, I thought how great it would be if only I could write novels in English. I had the feeling that I would be able to express my emotions so much more directly than if I wrote in Japanese.

I started out in life as a poet, I was only writing poetry all through my 20s, it wasn't until I was about 30 that I got serious about writing prose. While I was writing poems, I would often divert myself by reading detective novels, I liked them.

When I write a book I'm always questioning the project as a whole. I always feel I might have to just throw it away and forget about it, and I've done that with novels I've started and worked on for a long time. It's an option I need in order to write freely.

In the past, it was only in science fiction novels that you could read about ordinary people being able to go to space... But you laid the foundation for space tourism.

I sometimes joke that I am the first writer of historical fiction who can look out his window and point to the objects in his novels. I have a view of the entrance to the Bosporus, the old city, Hagia Sophia, the Blue Mosque.

While I was drawn to the Renaissance, my first (unpublished) novels took place in modern times. When the subject of alchemy started creeping into my stories, an astute mentor observed that the bits about alchemy might fit better in another time frame. When I finally decided to weave the pieces about the medieval science into historical settings, a successful novel began to emerge. (And I dusted off that art history book, and put it to use once again.)

The truth is, everything we know about America, everything Americans come to know about being American, isn't from the news. I live there. We don't go home at the end of the day and think, "Well, I really know who I am now because the Wall Street Journal says that the Stock Exchange closed at this many points." What we know about how to be who we are comes from stories. It comes from the novels, the movies, the fashion magazines. It comes from popular culture.

I'm not a big crime reader, but I'm reading Michael Connelly's 'The Reversal.' I'm going back to his novels. I'm also reading Keith Richards' 'Life.' I'm always fascinated by the transition from the innocent late '60s and early '70s and the youth culture becoming an industry.

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

When I worked as an editor, I read new novels being published in India every few days. They excited me tremendously for the first fifty pages or so, and boasted some true linguistic genius at times, but none of those writers could occupy more than one mind at once.

They say great themes make great novels. but what these young writers don't understand is that there is no greater theme than men and women.

I will say that there is an inordinate amount of medicine in my novels, especially the first one. There are a lot of medical things that happen. A hip fracture, three different kinds of lung cancer, pneumonia, blood poisoning, and so on.