Quotes About Novels

All things in my novels are real for me. Some western critics said that Garcia Marquez's novels are magic realism. However, I believe that Marquez must have experienced everything in his novels.

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.

There're no novels that I like to read so I write my own novels, and then I read them again, and it's the best thing.

I'm not writing novels, the screenplays are my novels, so I'm gonna write it the best that I can. If the movie never gets made, it'd almost be okay because I did it. It's there on the page.

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.

All great novels, all true novels, are bisexual.

She should have done science, not spent all her time with her head in novels. Novels gave you a completely false idea about life, they told lies and they implied there were endings when in reality there were no endings, everything just went on and on and on.

This is another thing which I really like investigating in my novels: what is it that makes an intimate society, that makes a society in which moral concern for others will be possible? Part of that I think are manners and ritual. We tried to get rid of manners, we tried to abolish manners in the '60s. Manners were very, very old-fashioned and un-cool. And of course we didn't realise that manners are the building blocks of proper moral relationships between people.

Novels shouldn’t aspire to answer questions, and I wouldn’t presume to offer advice about love or marriage in any case. What’s fascinating to me about marriage as a subject for fiction—a subject that fiction has taken on with gusto since the 19th century—is how unknowable other people’s relationships are. Even the marriages of your parents, your siblings, your closest friends always remain something of a mystery. Only in fiction can you pretend to know people completely.

Great, big, serious novels always get awards. If it's a battle between a great, big, serious novel and a funny novel, the funny novel is doomed.

My reading preferences are kind of all over the board - I read nonfiction, I read graphic novels.

At one point I intended to write precursor and sequel novels, about the establishment of the Web and its next evolution, but I am very unlikely to now; they would take place in a different universe.

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.

Editors seek out the first novels with the seductiveness of Don Juans; the pleasure of discovery is one of the obvious reasons.

[ Adult novels] was the world of grownups. There was nothing about teenagers.

People respect nonfiction but they read novels.

My writerly aspirations are pretty simple: to provide as many readers as possible with the same sort of wonderful immersion that I myself get from fantasy novels - and to make enough money to help feed my kids while doing so.

There's something really nice about writing something on Wednesday and watching it being performed live for a studio audience on Tuesday. You never really get that with novels.

When I say my novels are set in Israel in the last seventy years, this entails the fact that they begin hundreds or thousands of years earlier in time. And, sometimes in very, very different places, because we all come from somewhere, especially here in Israel.

Miss Prism: Do not speak slightingly of the three-volume novel, Cecily. I wrote one myself in earlier days. Cecily: Did you really, Miss Prism? How wonderfully clever you are! I hope it did not end happily? I don't like novels that end happily. They depress me so much. Miss Prism: The good ended happily, and the bad unhappily. That is what fiction means.

My dad liked more macho adventure books like Shogun or spy novels. My mother reads murder mysteries. In fact, so does her mother, my grandma. That's where I trace the familial line of murder mystery obsession.

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

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.

I know that many writers have had to write under censorship and yet produced good novels; for instance, Cervantes wrote Don Quixote under Catholic censorship.

All novels are experimental.

I love short stories. They're like small imploding universes. They are very tightly bound and controlled. I'd been wanting to write one for ages but just got tangled up in novels. The novel is the same in the sense that it is also a universe, but it explodes outwards with all that shrapnel going in several different directions. I don't see too much difference in the forms except for the fact that writing short stories is like sprinting rather than long-distance running.

I don't think that you can be prescriptive about anything, I mean, life is too complicated. Maybe there are novels where the author has not in the least thought about it in terms of film, which can be turned into good films.

It's actually not very hard to re-set between the adult novels and the ones for younger readers. The narrative voices are very similar, the smartass attitude, the environmental battles. Kids love books that are irreverent and challenge authority, when authority is arbitrary, greedy or foolish. They also love it when you make fun of grownups, and I've spent my whole life as a writer doing that.

Almost all novels are improved by cutting from the top. On their first pages, authors parade those favourite effects which disgust the impartial reader.

Jim Harrison is someone I always enjoy, one of the great contemporary writers. I like Tim Ferris' Big Boom Theory. I'm getting into a different kind of reading, not straight novels.

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

Certain kinds of things that the novel used to do, which was, "Oh, I'm living out here in West Nowhere, Nebraska and I'm curious how the upper class in New York City lives, I guess I'll read a novel about it." We don't have to do that now. You just turn on the TV. Turn on Lifestyles Of The Rich And Famous. You can get that information anywhere. Novels don't have to do that anymore.

Writers of novels and romance in general bring a double loss to their readers; robbing them of their time and money; representing men, manners, and things, that never have been, or are likely to be.

The older books were quite light-hearted. But I think most of my novels do end on a deep note of pessimism. Shadows seem to be closing in. The final conclusion isn't that life is wonderful and everything is bright and cheery and in the garden.

I started to write a series of fantasy novels when I was eleven. I have never taken anything artistic as seriously; since then, writing has felt like an attempt to get back there, to my bedroom, my maps, those races and languages and runes.

I've seen a tremendous shift especially in indie comics. I see all these young women who are out there creating. They're making these great web comics. Their graphic novels are getting published. They're making all this wonderful art. They're powerful. There's this vital energy about it that's really, really beautiful that years ago I knew existed but I didn't see so clearly.

There are a lot of snobs out there who disregard these books (romance novels), but they fulfil a need. I am happy and fulfilled in what I am doing and readers love them. And why not? They are harmless and they are fun.

Experimental novels are sometimes terribly clever and very seldom read. But the story that appeals to the child sitting on your knee is the one that satisfies the curiosity we all have about what happened then, and then, and then. This is the final restriction put on the technique of telling a story. A basic thing called story is built into the human condition. It's what we are; it's something to which we react.

The graphic novel? I love comics and so, yes. I don't think we talked about that. We weren't influenced necessarily by graphic novels but we certainly, once the screenplay was done, we talked about the idea that you could continue, you could tell back story, you could do things in sort of a graphic novel world just because we kind of like that world.

Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love.

Reading was like a drug, a dope. The novels created moods in which I lived for days.

It's a luxury to be able to tell a long form story. I love novels, and I love to have a long relationship with characters.

Movies are explorations; they take you on a path, and I think it's always better if it's a path that you don't know, that takes twists and turns that you can't predict. That's what's entertaining about movies. That's what's entertaining about novels.

All novels are fantasies. Some are more honest about it.

I didn't know anything about Opus Die except from pop culture, like Dan Brown novels, which I knew wasn't really knowing anything about Opus Die.

First of all, the novel should be a critique of the novels that have come before it in a language that broadens the audience of American literature. Second, it's really got to be invested in a number of what-if questions.

Novels attempt to render human experience; that's really all they are. They are meant to convey empathy for the character.

The movies are fun, but I'm a novelist. In many ways, screenwriting is much easier than writing novels. I find screenplays twenty times easier to write than a novel.