How old are you? Twelve?" "Fourteen & three quarters." His eyes sparkled. "You're kind of little for fourteen and three quarters." "Am not," I replied indignantly. "I'm a sophomore this year. How old are you?" "Seventeen and two fifths." Hardy Cateses & Liberty Jones.
A novel is what you dream in your night sleep. A novel is
not waking thoughts although it is written and thought
with waking thoughts. But really a novel goes as
dreams go in sleeping at night and some dreams are like
anything and some dreams are like something and some
dreams change and some dreams are quiet and some dreams
are not. And some dreams are just what any one would
do only a little different always just a little
different and that is what a novel is.
Nobody ever defended anything successfully, there is only attack and attack and attack some more.
A lot of people have trouble with their second novel - the dreaded sophomore jinx. I wrote three books in between the two novels, and they just weren't very good.
For my part, the good novel of character is the novel I can always pick up; but the good novel of incident is the novel I can never lay down.
May we now all rise and sing the eternal school hymn: "Attack. Attack. Attack Attack Attack!"
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.
Always attack. Even in defense, attack. The attacking arm possesses the initiative and thus commands the action. To attack makes men brave; to defend makes them timorous.
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.
If I'm a genre writer, I'm at the edge. In the end, they do work like genre fiction. You have a hero, there's a love interest, there's always a chase, there's fighting of some kind. You don't have to do that in a novel. But you do in a genre novel.
There always needs to be some excitement and some peace and quiet - otherwise you'll have a heart attack.
People have been saying the novel is dead for as far back as I can remember. The novel will never die, but it will keep changing and evolving and taking different shapes. Storytelling, which is the basis of the novel, has always existed and always will.
Whitman had a profound influence on me. That was during my sophomore year when I came down with a bad attack of Whitmanitis. But he did me a lot of good, and I think the influence is discoverable.
Playing with Morne Morkel and Dale Steyn, I am a very lucky guy. Not many people are going to attack those two, which means the batsmen will attack me. And if they attack me, there is always a chance I can get a wicket.
I went to the University of Michigan for two years, and I auditioned for 'Bring It On' during my sophomore year, so I got to finish my sophomore year, and then I joined the cast - the touring cast.
The Court explained the problem with his writings (People v. Ruggles. 1811.): an attack on Jesus Christ was an attack on Christianity; and an attack on Christianity was an attack on the foundation of the country; therefore, an attack on Jesus Christ was equivalent to an attack on the country!