A Quote by Dana Spiotta

There are lots of authentic, moving characters in so-called systems novels, just as there are certainly deep structural ideas in some character-driven novels. — © Dana Spiotta
There are lots of authentic, moving characters in so-called systems novels, just as there are certainly deep structural ideas in some character-driven novels.
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.
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.
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.
With 'J', at a deep base level, there is still some comedy, but that masculinist voice that had driven so many of my novels I suddenly did not want to occupy. I wasn't reneging on it; I just didn't want to do it.
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.
All things in my novels are real for me. Some western critics said that Garcia Marquez's novels are magic realism. However, I believe that Marquez must have experienced everything in his novels.
The world is full of novels in which characters simply say and do. There are certainly legitimate genres in which this is sufficient. But in real and lasting writing the character is.
I just reached the point where plot-driven novels don't hold my interest because I don't care about the fate of characters anymore - whether Emily marries Tom or not, that kind of thing.
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.
Why do I like to write short stories? Well, I certainly didn't intend to. I was going to write a novel. And still! I still come up with ideas for novels. And I even start novels. But something happens to them. They break up. I look at what I really want to do with the material, and it never turns out to be a novel.
I don't like to make strong statements. I want to write strong novels... I keep my deep, radical things for my novels.
I don’t like to make strong statements. I want to write strong novels … I keep my deep radical things for my novels.
I have found that the characters in my novels stay with me after a book has ended. I know them in some sense. I never map anything out. I just think until I am secure in the voice of one of them, and then let the character unfold.
I love novels where not much 'happens' but where the interest is in the ideas and analyses of characters.
I tend to have an endless number of ideas for writing projects. I don't necessarily say that as a good thing. Maybe it's a good thing, but I have ideas for all kinds of projects: contemporary novels, graphic novels, anything that happens to go through my mind.
I tend to be more of a novel writer. In fact, some of my novels started out as short stories, and I just got carried away! I think some of my best writing is in the short story form, but novels come more naturally to me.
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