A Quote by Helen Dunmore
A novel, in the end, is a container, a shape which you are trying to pour your story into.
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Pour a liquid out of its container, and it changes shape, fills the space you give it. If you give children a lot of space, it may surprise you where they'll go and the shape they'll take.
Think of yourself as a container for wealth. If your container is small and your money is big, what's going to happen? You will lose it. Your container will overflow and the excess money will spill out all over the place. You simply cannot have more money than the container. Therefore you must grow to be a big container so you cannot only hold more wealth but also attract more wealth. The universe abhors a vacuum and if you have a very large money container, it will rush in to fill the space.
I always tell people, anger is like liquid. It's fluid, it's like water. You put it in a container and it takes the shape of that container. So many people you see in prison, unleashing war on their people, they are angry, and they take their anger and put it into a violent container.
If I can give a young author any advice, whatsoever, never let anyone announce the film sale of your first novel. Film rights are sold to almost every novel, but it shouldn't be the lead story in your first engagement with the press. Then you end up getting reviews like "a novel made for the screen" and things like that.
With a novel, which takes perhaps years to write, the author is not the same man he was at the end of the book as he was at the beginning. It is not only that his characters have developed-he has developed with them, and this nearly always gives a sense of roughness to the work: a novel can seldom have the sense of perfection which you find in Chekhov's story, The Lady with the Dog.
A romance novel is more than just a story in which two people fall in love. It's a very specific form of genre fiction. Not every story with a horse and a ranch in it is a Western; not every story with a murder in it is a mystery; and not every book that includes a love story can be classified as a romance novel.
I always write a draft version of the novel in which I try to develop, not the story, not the plot, but the possibilities of the plot. I write without thinking much, trying to overcome all kinds of self-criticism, without stopping, without giving any consideration to the style or structure of the novel, only putting down on paper everything that can be used as raw material, very crude material for later development in the story.
Philip Galanes makes his debut with a novel that is both heartbreaking and deftly comic, the story of a young man struggling with his most primitive desires--wanting and needing. It is a novel about the complex relationships between parents and children, a story of loss and of our unrelenting need for acknowledgment, to be seen as who we are. And in the end it is simply a love story for our time.
The process of writing a novel is getting to know more about the novel until you know everything about it. And it's been described as a kind of dreamlike state where you're letting the novel make its own shape, and you're putting into it the pleasure of creation, which is intoxicating.
Keep a diary, but don't just list all the things you did during the day. Pick one incident and write it up as a brief vignette. Give it color, include quotes and dialogue, shape it like a story with a beginning, middle and end—as if it were a short story or an episode in a novel. It's great practice. Do this while figuring out what you want to write a book about. The book may even emerge from within this running diary.
Any time I put together a story collection, I don't know what it's going to look like overall - or even what the title story is going to be. Over time, I end up with a dozen or so stories, and I start to see a shape to them, how they fit together, and then I write stories that complement or extend that shape.
Before I studied story, I was trying to write a novel, and it was terrible. It wasn't going anywhere, and I couldn't figure out what I was trying to do. It was really hard; much harder than I thought it was going to be. Now that I've studied story, I think I'd have a different approach and maybe I could actually get it done.
With American Gods I was trying very, very consciously - there was a level at which it was a little like trying to write a novel in French - you know, "this novel is to be written in American."
I never start a section of the story without knowing how it will end. I also consciously try to shape the story as though it were a movie.
'Drown' was always a hybrid book. It's connected stories - partially a story collection but partially a novel. I always wanted the reader to decide which genre they thought the book belonged to more - story, novel, neither, both.
Human nature is like water. It takes the shape of its container.
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