A Quote by Frank Yerby

It is my contention that a really great novel is made with a knife and not a pen. A novelist must have the intestinal fortitude to cut out even the most brilliant passage so long as it doesn't advance the story.
I've always been a fan of the 19th century novel, of the novel that is plotted, character-driven, and where the passage of time is almost as central to the novel as a major minor character, the passage of time and its effect on the characters in the story.
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.
A man's word and his intestinal fortitude are two of the most honorable virtues known to mankind.
A short story is a sprint, a novel is a marathon. Sprinters have seconds to get from here to there and then they are finished. Marathoners have to carefully pace themselves so that they don't run out of energy (or in the case of the novelist-- ideas) because they have so far to run. To mix the metaphor, writing a short story is like having a short intense affair, whereas writing a novel is like a long rich marriage.
The men at the top aren't that great at properly assessing the women under them, certainly not enough to gauge their potential or intestinal fortitude.
A language like Ruby is a toolbox with some really neat little tools that do their job really nicely. JavaScript is a leather sheath with a really really sharp knife inside. That knife can cut anything, and with it you can do anything. You can kill a bear. You can catch fish. You can whittle a piece of wood into a pony. It's even a toothpick.
When you take a child who's hollering like hell, sit him on your knee, and say "once upon a time", you stop him hollering. As long as you go on telling him a story, he will listen. Novelists who neglect this fundamental effect do so at their peril. They become what is known as the experimental novelist, and an experimental novel is not really a novel at all.
A good novel is an indivisible sum; every scene, sequence and passage of a good novel has to involve, contribute to and advance all three of its major attributes: theme, plot, characterization.
I guess I would say that most of what I've learned about storytelling derives from novels and short stories. I cannot think of a novel or story, or a novelist or story writer, who thinks in terms of three-act structure.
But a knife ain't just a thing, is it? It's a choice, it's something you do. A knife says yes or no, cut or not, die or don't. A knife takes a decision out of your hand and puts it in the world and it never goes back again.
I've been wrestling with Kafka since I was an adolescent. I think he's a great aphorist, a great letter writer, a great diarist, a great short story writer, and a great novelist - I'd put novelist last.
If someone writes a great story, people praise the author, not the pen. People don't say, 'Oh what an incredible pen...where can I get a pen like this so I can write great stories?' Well, I am just a pen in the hands of the Lord. He is the author. All praise should go to him.
I have a terrible, terrible fear of knives. I only buy food that I don't need to cut... I haven't cut my food in years! Like, I won't even touch a plastic knife or anything sharp. And if I'm in a kitchen and somebody picks up a knife, I leave.
The short story can't really hold an interesting event. It can't hold a death or a war or a loss of great magnitude the way either a long story or a novel can.
I can't turn around without hearing about some 'civil rights advance's White people seem to think the black man ought to be shouting 'hallelujah's Four hundred years the white man has had his foot-long knife in the black man's back — and now the white man starts to wiggle the knife out, maybe six inches! The black man's supposed to be grateful? Why, if the white man jerked the knife out, it's still going to leave a scar!
Just as we bemoan the passing away of the Great Novel, a great novelist is likely to emerge, perhaps even from Denmark or Switzerland, to prove us wrong.
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