A Quote by Chinua Achebe
We live in a sea of general ideas, so that's not a novel, since there are so many general ideas. But the moment a particular idea is linked to a character, it's like an engine moves it. Then you have a novel underway.
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A novel is a collision of ideas. Three or four threads may be floating around in the writer's consciousness, and at a single moment in time, these ideas collide and produce a novel.
a novel is not born of a single idea. The stories I've tried to write from one idea, no matter how terrific an idea, have sputtered out and died by chapter three. For me, novels have invariably come from a complex of ideas that in the beginning seemed to bear no relation to each other, but in the unconscious began mysteriously to merge and grow. Ideas for a novel are like the strong guy lines of a spider web. Without them the silken web cannot be spun.
You can only acquire really useful general ideas by first acquiring particular ideas . . . You cannot make bricks without straw.
The thing I have learned through the years is that one idea 'doth' not a novel make. A novel must be several seemingly unrelated ideas that somehow magically come together to create the fabric of the story.
Speculative Philosophy is the endeavour to frame a coherent, logical, necessary system of general ideas in terms of which every element of our experience can be interpreted. By this notion of 'interpretation' I mean that everything of which we are conscious, as enjoyed, perceived, willed, or thought, shall have the character of a particular instance of the general scheme.
Since many things we see were once an idea, let us create good ideas today because they will be the realities of tomorrow! When you create an idea, do not forget that you shape the future! Idea is your God side! With ideas, you can change the universe, but only with very great ideas!
There is a great difference, whether the poet seeks the particular for the sake of the general or sees the general in the particular. From the former procedure there ensues allegory, in which the particular serves only as illustration, as example of the general. The latter procedure, however, is genuinely the nature of poetry; it expresses something particular, without thinking of the general or pointing to it.
But to be perfectly frank, this childish idea that the author of a novel has some special insight into the characters in the novel ... it's ridiculous. That novel was composed of scratches on a page, dear. The characters inhabiting it have no life outside of those scratches. What happened to them? They all ceased to exist the moment the novel ended.
I was a teenager when General Zia took power in the Pakistan; I was in my twenties when I went there during the late 1980s and I saw then not only the novel punishments that he was introducing - because they were novel, and this is again something that's very important to understand, it's only in the last thirty, forty years, since 1979 in fact, that these penalties have been revived anywhere in the world apart from Saudi Arabia.
... a novel survives because of its basic truthfulness, its having within it something general and universal, and a quality of imaginative perception which applies just as much now as it did in the fifty or hundred or two hundred years since the novel came to life.
Ideas are dangerous, but the man to whom they are least dangerous is the man of ideas. He is acquainted with ideas, and moves among them like a lion-tamer. Ideas are dangerous, but the man to whom they are most dangerous is the man of no ideas. The man of no ideas will find the first idea fly to his head like wine to the head of a teetotaller.
The thing I want to do is put as many new ideas into the law as I can, to show how particular solutions involve general theory, and to do it with style. I should like to be admitted to be the greatest jurist in the world.
I don't think any particular painters have inspired me, except in a general sense. It was more a matter of corroboration. The visual arts, from Manet onwards, seemed far more open to change and experiment than the novel, though that's only partly the fault of the writers. There's something about the novel that resists innovation.
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.
A novel means a new way of doing a story. If you go back the origins of a novel, 'Clarissa' - that's not a novel; it's just a bunch of letters. But it isn't! Because it's organised in a particular way! A novel is what you make of it.
Now you mustn't think that I don't have any ideas for novels in my head. I've got ideas for ten novels in my head. But with every idea I have, I already foresee the wrong novels I would write, because I also have critical ideas in my head; I've got a full theory of the perfect novel, and that's what stumps me.
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