Quotes About Novels

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.

Novels are political not because writers carry party cards -- some do, I do not -- but because good fiction is about identifying with and understanding people who are not necessarily like us. By nature all good novels are political because identifying with the other is political. At the heart of the 'art of the novel' lies the human capacity to see the world through others' eyes. Compassion is the greatest strength of the novelist.

No one reads novels anymore. And I don't see the situation improving. People prefer video games, reality TV, and films. There are so many reasons now not to read novels.

We spend more time with our coworkers than we do with our loved ones, and yet we don't have that many novels on the subject. We have far more novels about families bickering at Thanksgiving and not enough about the day before Thanksgiving at the office. If we lived in, say, Romania, maybe a workplace job might not be as important to the cultural discussion. But we live in America, where work is crucially important and capitalism drives everything we do.

Mirabelle replaces the absent friends with books and television mysteries of the PBS kind. The books are mostly nineteenth-century novels in which women are poisoned or are doing the poisoning. She does not read these books as a romantic lonely hearts turning pages in the isolation of her room, not at all. She is instead an educated spirit with a sense of irony. She loves the gloom of these period novels, especially as kitsch, but beneath it all she finds that a part of her indentifies with all that darkness.

I'd probably still be a financial journalist now if it weren't for writing novels. Mmm. Fun! I'm much happier writing novels!

The fact that there are so many weak, poor and boring stories and novels written and published in America has been ascribed by our rebels to the horrible squareness of our institutions, the idiocy of power, the debasement of sexual instincts, and the failure of writers to be alienated enough. The poems and novels of these same rebellious spirits, and their theoretical statements, are grimy and gritty and very boring too, besides being nonsensical, and it is evident by now that polymorphous sexuality and vehement declarations of alienation are not going to produce great works of art either.

My major preoccupation is the question, 'What is reality ?' Many of my stories and novels deal with psychotic states or drug-induced states by which I can present the concept of a multiverse rather than a universe. Music and sociology are themes in my novels, also radical political trends; in particular I've written about fascism and my fear of it.

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.

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.

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.

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.

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

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

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

I'm not typing. I write only by longhand. I've always written first drafts by hand and then once I was into a second or third draft I wrote insert pages on a typewriter. But I got rid of all my typewriters about three or four novels ago and now I do everything by hand. I write by hand because it makes me go slow and going slow is what I like.

I'm just trying to tell a good story and make thought-provoking, entertaining films. I just try and draw upon the great culture we have as a people, from music, novels, the streets.

When I first thought of the idea for 'Sweet Valley High,' I loved the idea of high school as microcosm of the real world. And what I really liked was how it moved things on from 'Sleeping Beauty'-esque romance novels where the girl had to wait for the hero. This would be girl-driven, very different, I decided - and indeed it is.

Gordon eyed them with inert hatred. At this moment he hated all books, and novels most of all. Horrible to think of all that soggy, half-baked trash massed together in one place.

Beware of clichés. Not just the ­clichés that Martin Amis is at war with. There are clichés of response as well as expression. There are clichés of observation and of thought - even of conception. Many novels, even quite a few adequately written ones, are ­clichés of form which conform to clichés of expectation.

Most contemporary novels are not really "written." They obtain what reality they have largely from an accurate rendering of the noises that human beings currently make in their daily simple needs of communication; and what part of a novel is not composed of these noises consists of a prose which is no more alive than that of a competent newspaper writer or government official. A prose that is altogether alive demands something of the reader that the ordinary novel-reader is not prepared to give.

It's a given that we exist in a world where we have to live in continuity every day; no one is immune to that, in life or romance novels. By the same token, it's not something I find terribly important.

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.

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.

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.

As a kid, I dreamt of becoming a writer. My most exciting pastime was reading novels; in fact, I would read anything I could find. I never thought I would pursue mathematics until my last year in high school. I grew up in a family with three siblings. My parents were always very supportive and encouraging. It was important for them that we have meaningful and satisfying professions, but they didn't care as much about success and achievement.

I like the idea of making big budget films with a heart. I like graphic novels more than comic books.

almost all American writers tend to overwrite, to tell too much. I get the disillusioned feeling that novels, today, are sold by the pound, like groceries. It actually takes a great deal more discipline to be able to leave out rather than to throw in everything. This means that you have to say in one sentence precisely what you mean, instead of saying sort of what you kind of mean in hundreds of sentences and hoping the sum total will add up.

But my philosophy is that plot advancement is not what the experience of reading fiction is about. If all we care about is advancing the plot, why read novels? We can just read Cliffs Notes.

The possibility of the impossible, dreams and illusions, are the subject of my novels.

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.

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.

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

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.

How on earth could that be done? If you try to laugh and say 'No' at the same time, it sounds like neighing - yet people are perpetually doing it in novels. If they did it in real life they would be locked up.

Unfortunately, I don't get to read nearly as much as I want because I'm always working on my own stuff, either the novels or newspaper columns.

What works in a story is very different than what works in cinema. For example, dialogue in books: If you translate it too faithfully, it sounds a little stilted, because we often don't speak the way we speak in novels. Oral language is much punchier, shorter sentences.

The Florida in my novels is not as seedy as the real Florida. It's hard to stay ahead of the curve. Every time I write a scene that I think is the sickest thing I have ever dreamed up, it is surpassed by something that happens in real life.

It's with bad sentiments that one makes good novels.

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 closed my own jazz bar so I could be a man who can write novels as I like. I was pleased about that. This pleasure was connected to the pleasure of writing.

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

I'm not trying to write cinematic novels, but I have been told several times that my style is cinematic.

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.

I always figure there are novels and short stories, and in those, I'm God. No one tells me what to do. I don't have to lose a page, or cut anything, it's just mine. Then there are other things where you're up against realities.

To grasp organizational life as it is, read novels (!) .... It is my fervent belief that we will never design rational processes that "overcome" such irregularities-don't bother telling that to a consultant. Hence, we should embrace the real, nonrational, nonlinear world with vigor and glee-and develop enterprise and career strategies accordingly.

I would have to say the novel 'War and Peace' influenced me more than any other book. This greatest of novels demonstrated to me the enormous power of literature and fired me up with a desire to become a writer, to participate in what I considered then to be the greatest of all endeavors.