A Quote by Elizabeth Bowen
What must novel dialogue . . . really be and do? It must be pointed, intentional, relevant. It must crystallize situation. It must express character. It must advance plot. During dialogue, the characters confront one another. The confrontation is in itself an occasion. Each one of these occasions, throughout the novel, is unique.
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Each piece of dialogue MUST be "something happening". . .The "amusing" for its OWN sake should above all be censored. . .The functional use of dialogue for the plot must be the first thing in the writer's mind. Where functional usefulness cannot be established, dialogue must be left out.
As readers, we want not only a strong story, but also characters we can relate to, characters that feel real. We have to find something of ourselves in them. Each character, even those only there to serve the mechanics of the plot, should have a number of layers. The entire world you are stepping into as a reader must feel real. It must have resonance, you must be able to touch the light; smell the smells.
The writer must face the fact that ordinary lives are what most people live most of the time, and that the novel as a narration of the fantastic and the adventurous is really an escapist plot; that aesthetically, the ordinary, the banal, is what you must deal with.
They are our future, and we must have a dialogue. This dialogue between the past and the future is important. Because of this I underline so much the relationship between the youth and grandparents. They must speak with.
The most difficult thing in the world is to reveal yourself, to express what you have to. As an artist, I feel that we must try many things - but above all we must dare to fail. You must be willing to risk everything to really express it all.
When you write a book, you want to have fidelity to the character. Characters and their emotions guide the structure of the novel. The author is aware that there's a certain amount of information she/he has to provide in order to satisfy the reader, knowing that she/he has set something up that must be paid off, but this payment must be made while maintaining fidelity to the characters.
Three characteristics a work of fiction must possess in order to be successful:
1. It must have a precise and suspenseful plot.
2. The author must feel a passionate urge to write it.
3. He must have the conviction, or at least the illusion, that he is the only one who can handle this particular theme.
To be true to life, a novel must have an ending that is inevitable given the specific personalities of the characters involved. The novelist must not impose an ending upon them.
Brothers, we must be united; we must smoke the same pipe; we must fight each other's battles; and more than all, we must love the Great Spirit.
Leaders must display their humanness. Those under their authority must be empowered & have the courage to engage in honest dialogue.
Plot comes first. The plot is the archictecture of your novel. You wouldn't build a house without a plan. If I wrote without a plot, it would just be a pile of bricks. Characters are your servants. They must serve your plot.
To discover how much of our resources must be mobilized for war, we must first examine our political aim and that of the enemy. We must gauge the strength and situation of the opposite state. We must gauge the character and abilities of its government and people and do the same in regard to our own. Finally, we must evaluate the political sympathies of other states and the effect the war may have on them.
And therefore we must seek dialogue in this networked world. We must ask which voice was actually attempting to make itself heard and saw no other possibility of gaining a hearing. To that extent, for a while this also represented a forced opening of a cosmopolitan view.
Dialogue must appear realistic without being so. Actual realism-the lifting, as it were, of passages from a stenographer's take-down of a 'real life' conversation-would be disruptive. Of what? Of the illusion of the novel. In 'real life' everything is diluted; in the novel everything is condensed.
The book must of necessity be put into a bookcase. And the bookcase must be housed. And the house must be kept. And the library must be dusted, must be arranged, must be catalogued. What a vista of toil, yet not unhappy toil!
We must move into the universe. Mankind must save itself. We must escape the danger of war and politics. We must become astronauts and go out into the universe and discover the God in ourselves.
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