A Quote by Garry Disher

I have no favourite genre or style but treat each novel with the same care, imagination and craftsmanship. It's as difficult to write a crime or a children's novel with a touch of style and grace as it is a literary 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.
I think the novel is not so much a literary genre, but a literary space, like a sea that is filled by many rivers. The novel receives streams of science, philosophy, poetry and contains all of these; it's not simply telling a story.
The crime novel has always been my favourite genre.
'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.
It seems to me that one of the things that happened with a lot of literary fiction in the 1980s and 1990s was that it became very concerned with the academy and less with how people live their lives. We got to a point where the crime novel stepped into the breach. It was also a time when the crime novel stopped being so metropolitan.
The disappointing second novel is measured against the brilliant first novel - often no novel lives up to the first. Literary improvement seems like an unfair expectation.
To write a novel may be pure pleasure. To live a novel presents certain difficulties. As for reading a novel, I do my best to get out of it.
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.
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 Chicago Way is a wonderful first novel. Michael Harvey has studied the masters and put his own unique touch on the crime novel. This book harkens the arrival of a major new voice.
My sole literary ambition is to write one good novel, then retire to my hut in the desert, assume the lotus position, compose my mind and senses, and sink into meditation, contemplating my novel.
So long as you tell a story that falls within the fairly generous boundaries of the suspense novel, you're free to make the novel as good as you can. You're allowed to challenge the reader. You can experiment with voice and style.
Madly, futilely, I wrote novel after novel, eight in all, that failed to find a publisher. I persisted because for me the novel was the supreme literary form: not just one among many, not a relic of the past, but the way we communicate to one another the subtlest truths about this business of living.
Madly, futilely, I wrote novel after novel, eight in all, that failed to find a publisher. I persisted because for me the novel was the supreme literary form - not just one among many, not a relic of the past, but the way we communicate to one another the subtlest truths about this business of living.
In general, each form is a relief from the other forms. I can't write a novel after a novel. I just use up all the material each time, and I need to rest.
I feel that whatever virtues the novel may have are very much connected with the limitations you mention. I am not writing a conventional novel, and I think that the quality of the novel I write will derive precisely from the peculiarity or aloneness, if you will, of the experience I write from.
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