A Quote by Chinua Achebe

I know that an important message is not a novel. To say that we should all be kind to our neighbors is an important statement; it's not a novel. — © Chinua Achebe
I know that an important message is not a novel. To say that we should all be kind to our neighbors is an important statement; it's not a novel.
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.
The process of writing a novel is getting to know more about the novel until you know everything about it. And it's been described as a kind of dreamlike state where you're letting the novel make its own shape, and you're putting into it the pleasure of creation, which is intoxicating.
If only a group of people were more important to me than the idea of a Novel, I might begin a novel.
Well, people have been wondering what's going to happen to the novel for two hundred years; its death has been announced many times. You know, I think the novel keeps redefining the world we live in. What you should look for in a novel is a window nobody else is looking out of, that nobody else can look through. What you look for is a voice. You pick up a novel by someone such as Faulkner or Hemingway and you just read three pages and you know who wrote it. And that's what one should demand of a novelist.
It's very bad to write a novel by act of will. I can do a book of nonfiction work that way - just sign the contract and do the book because, provided the topic has some meaning for me, I know I can do it. But a novel is different. A novel is more like falling in love. You don't say, 'I'm going to fall in love next Tuesday, I'm going to begin my novel.' The novel has to come to you. It has to feel just like love.
'The Turnaround' isn't even really a crime novel. But you need conflict to make a novel, any kind of novel, and I don't know any other way to do it than crime.
The point is, that the function of the novel seems to be changing; it has become an outpost of journalism; we read novels for information about areas of life we don't know - Nigeria, South Africa, the American army, a coal-mining village, coteries in Chelsea, etc. We read to find out what is going on. One novel in five hundred or a thousand has the quality a novel should have to make it a novel - the quality of philosophy.
Why are murder mysteries so popular? There's a 3-part "formula" (if you want to call it that) for a genre novel: (1) Someone the reader likes and relates to (2) overcomes increasingly difficult obstacles (3) to reach an important goal. The more important the goal, the stronger the novel. And the most important goal that any of us have is survival. That's why murder mysteries are more gripping than a story titled "Who Stole My TV Set.
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.
The contemporary memoir is playing an important role in at least just bringing certain relationships out into the open in American society, and also it's a place where the novel of development, the novel of consciousness, has gone.
The Butcher Boy is a very great novel indeed and a very important Irish novel. The ambiguity of that is, he's writing a book about an appalling situation and he does it in a hilarious way.
The age of the book is not over. No way... But maybe the age of some books is over. People say to me sometimes 'Steve, are you ever going to write a straight novel, a serious novel' and by that they mean a novel about college professors who are having impotence problems or something like that. And I have to say those things just don't interest me. Why? I don't know. But it took me about twenty years to get over that question, and not be kind of ashamed about what I do, of the books I write.
To read a novel requires a certain kind of concentration, focus, devotion to the reading. If you read a novel in more than two weeks, you don't read the novel really.
Wonderful thing about novels is that sometimes we read a novel and we know the person in the novel more than we know people in our own lives.
I believe the most important thing you can do in any kind of novel is to make your reader want to go on with it and want to know what happens next.
One novel in five hundred or a thousand has the quality a novel should have to make it a novel -- the quality of philosophy.
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