A Quote by Amos Oz

All my novels are rooted in their time and in their place. — © Amos Oz
All my novels are rooted in their time and in their place.

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All my novels are rooted in their time and in their place. The place of my novels is Israel, almost without exception. Almost without exception, my novels are rooted in Israel because that's the place I know well. And, that's my gutsy advice to any young writer: write only about what you know well. Don't write about that which you don't know.
Almost without exception, my novels are rooted in Israel because that's the place I know well.
I have a very acute sense of place and time, so all of my stories are rooted in a place and a time.
Falling in Place was meant to be very much rooted in a place and time, and music was a part of that.
A Catholic understanding of priesthood is so strongly rooted in the historic actions of Jesus and in all their antecedents in the place of sacrifice in life. And those things... they are rooted to the role of the man.
We need to build resilience together, rooted in religion, rooted in schools, rooted in our health care institutions.
To search means, first, I need Being, Truth; second, I do not know where to find it; and third, an action takes place that is not based on fantasies of certainty— while at the same time a waiting takes place that is rooted not in wishful thinking but in a deep sense of urgency.
I knew I wanted to do a show on NBC - it's rooted in its history; it's part rooted in nostalgia and part rooted in the potential of it. For me, there was no other choice.
When I was working on a Victorian-era novel, to get in the mood, I read several historical novels set in approximately the same period and place, and really enjoyed the detective novels of John Dickson Carr.
After these three novels I gave up writing novels for a time; I was dissatisfied with romantic doom, yet didn't see much way around it.
For a long time, since story collections look almost precisely like novels, I presumed that they were meant to be enjoyed in the same way as 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.
My first attraction to writing novels was the plot, that almost extinct animal. Those novels I read which made me want to be a novelist were long, always plotted, novels - not just Victorian novels, but also those of my New England ancestors: Herman Melville and Nathaniel Hawthorne.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
In all my novels, a sense of place - not just geographic but social - is a critical element. I have always been drawn to the novels of Edith Wharton, among others, where social dynamics are crucial. Wharton's class consciousness fascinates me, and some of the tension in my books stems from that.
I can only write one novel at a time. The author of the Perry Mason novels, Erle Stanley Gardner, often worked on four novels simultaneously, and produced a million words a year. I'm envious.
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