A Quote by Arthur Slade

The valley we lived in could easily be the setting for a fantasy novel or a prairie western novel. It could be anything. — © Arthur Slade
The valley we lived in could easily be the setting for a fantasy novel or a prairie western novel. It could be anything.
I have a slightly contrarian streak as a writer, and one of the things I was interested in was how distilled could I make a life, and how I could cross what is kind of trivialized as a domestic novel with a novel of ideas, a philosophical novel.
However, the difficulties and pleasures of the writing itself are similar for a novel with a historical setting and a novel with a contemporary setting, as far as I'm concerned.
A 300pp novel can easily become a 200pp novel by printing with smaller type; a 100pp screenplay can potentially become a film of between 60-140 minutes in length; a 200pp stage play could be performed in anything from 30 minutes to four hours. For all these media, the script length is agnostic to the final work.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
Even while I was working on the novel I would also write short stories as relief, just to be in a wieldier world that could negotiated more easily and more quickly. In the novel, I even changed the narrator from a man to a woman.
I had never thought about writing a novel. But I had two young kids, and I realized that if I could write a novel, I could work at home.
First, hugely popular and talented romance/dark fantasy author Meljean Brook gives a really deep, wonderful story. She's clearly spent so much time thinking about the world of Sonja and her story in particular, it could easily have been a novel of its own.
I'm never interested in writing a kind of neutral, universal novel that could be set anywhere. To me, the novel is a local thing.
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.
For a Jewish Puritan of the middle class, the novel is serious, the novel is work, the novel is conscientious application why, the novel is practically the retail business all over again.
I always imagined a writer was someone who lived in an attic in Paris, but my mum instilled in me a belief that I could do anything - so I ended up writing my first novel while working nights as a news reporter.
If you try to nail anything down, in the novel, either it kills the novel, or the novel gets up and walks away with the nail.
The novel 'World War Z' is told from the perspectives of so many people - speaking to the narrator - that there's no way a movie could capture all of them. Still, the idea of turning a zombie pandemic into a war story is fascinating and could have translated easily to film.
History is a novel that has been lived, a novel is history that could have been.
I've no objection to the term 'graphic novel,' as long as what it is talking about is actually some sort of graphic work that could conceivably be described as a novel. My main objection to the term is that usually it means a collection of six issues of Spider-Man, or something that does not have the structure or any of the qualities of a novel, but is perhaps roughly the same size.
I was heavily influenced by my first attempt at a novel. I started a fantasy novel back in high school, and... well... it really sucked. It was a plotless, clichéd mess.
This site uses cookies to ensure you get the best experience. More info...
Got it!