A Quote by Ben Dolnick

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. — © Ben Dolnick
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.
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.
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.
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.
I have read all my novels that were translated into English. Reading my novels is enjoyable because I forget almost all the content in them.
I sold my first short story while I was home on maternity leave, then began working on novels. Since I was reading and enjoying romance novels at the time, the first two unpublished manuscripts I wrote were both romances. I sold my third novel, 'Call After Midnight,' to Harlequin Intrigue after submitting it unagented.
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.
Sir,’ said Stephen, ‘I read novels with the utmost pertinacity. I look upon them--I look upon good novels--as a very valuable part of literature, conveying more exact and finely-distinguished knowledge of the human heart and mind than almost any other, with greater breadth and depth and fewer constraints.
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.
I read Claire Messud's 'The Emperor's Children,' I read Joseph O'Neill's 'Netherland' - but to me, they're not 9/11 novels. In 'The Emperor's Children,' 9/11 felt to me like a piece of the plot; the novel wasn't wrestling with what 9/11 meant. And 'Netherland' felt the same way. I liked both books a lot but I don't see them as 9/11 novels.
In Pakistan, many of the young people read novels because in the novels, not just my novels but the novels of many other Pakistani writers, they encounter ideas, notions, ways of thinking about the world, thinking about their society that are different. And fiction functions in a countercultural way as it does in America and certainly as it did in the, you know, '60s.
Writing short stories was kind of like I was cheating the whole time, in some way. I went back and forth between writing the novels and sort of sneaking out to work on stories occasionally. These stories were written over the last 10 years or so, as I was taking breaks from the novels I've written.
My view is that comic books are meant to be long-form stories. They're meant to be novels.
Most publishers seem very reluctant to publish short story collections at all; they bring them out in paperback, often disguised as novels.
I'm a severe graphic novels junkie. People ask me about it, and I say I like the graphic novels. Comic books are for kids, and graphic novels are for adults. But you can't really separate the two.
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 novels are very much the same, as I think many people's novels are.
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