A Quote by Howard Jacobson
Show me a novel that's not comic, and I'll show you a novel that's not doing its job.
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There is, in fact, not much point in writing a novel unless you can show the possibility of moral transformation, or an increase in wisdom, operating in your chief character or characters. Even trashy bestsellers show people changing. When a fictional work fails to show change, when it merely indicates that human character is set, stony, unregenerable, then you are out of field of the novel and into that of the fable or the allegory. - from the introduction of the 1986 Norton edition
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.
A novel means a new way of doing a story. If you go back the origins of a novel, 'Clarissa' - that's not a novel; it's just a bunch of letters. But it isn't! Because it's organised in a particular way! A novel is what you make of it.
I have never started a novel - I mean except the first, when I was starting a novel just to start a novel - I've never written one without rereading Victory. It opens up the possibilities of a novel. It makes it seem worth doing.
In some ways, a novel isn't as structurally rigorous as a screenplay or a TV show, which have finite real estate. In a novel, you can more deeply illuminate a character's interior and get away with digressions.
To AMC's credit, I think what they saw was the show doesn't exist in the marketplace. They knew that there was a hunger for a martial arts show. They also knew that you have this strong tradition of martial arts cinema, so even though it's not branded by a novel or a comic book or an old movie or something, we do have the genre itself, which people love.
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.
For my part, the good novel of character is the novel I can always pick up; but the good novel of incident is the novel I can never lay down.
It's very bad to write a novel by act of will. I can do a book of nonfiction work that way - just sign the contract and do the book because, provided the topic has some meaning for me, I know I can do it. But a novel is different. A novel is more like falling in love. You don't say, 'I'm going to fall in love next Tuesday, I'm going to begin my novel.' The novel has to come to you. It has to feel just like love.
The novel ceases to be looked at as a novel. Such is the overwhelming power of motion pictures. Gore Vidal pointed out that the movies are the only thing anybody's really interested in. The association with movies and movie money can, and certainly did in my case, occlude a novel as a novel.
When I complete a novel I set it aside, and begin work on short stories, and eventually another long work. When I complete that novel I return to the earlier novel and rewrite much of it. In the meantime the second novel lies in a desk drawer.
Although every novel is derived directly from another novel, there is really only one novel, the Quixote.
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.
The first novel I wrote, 'The White House Mess,' was a comic novel. It came out in 1986. It was a parody in the form of a White House memoir.
People don't like to say comic so they say Graphic Novel, despite the fact that I don't think the true Graphic Novel has been written anywhere.
When I first began to write fiction, I didn't think I was a comic writer; I thought I was a serious writer. I was surprised when the first novel I wrote was regarded as a funny novel.
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