A Quote by Jane Austen

I will not adopt that ungenerous and impolitic custom so common with novel writers, of degrading by their contemptuous censure the very performances, to the number of which they are themselves adding?joining with their greatest enemies in bestowing the harshest epithets on such works, and scarcely ever permitting them to be read by their own heroine, who, if she accidentally take up a novel, is sure to turn over its insipid leaves with disgust.
I suppose drama can either take the place of a novel or can be very closely allied with it. It's quite customary to turn a successful novel into a film or a television series because you can dramatize and pictorialize a 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.
To read a novel requires a certain kind of concentration, focus, devotion to the reading. If you read a novel in more than two weeks, you don't read the novel really.
To read a novel requires a certain amount of concentration, focus, devotion to the reading. If you read a novel in more than two weeks, you don't read the novel, really.
When you write a novel, there’s a level at which you are much more revealing about who you are because you’re less self-conscious about how you’re presenting yourself. You are accidentally leaving your DNA all over everything in a novel because it’s all coming from you.
If the heroine of one novel be not patronized by the heroine of another, from whom can she expect protection and regard?
Just as readers often turn into writers, novel-writers often become novel-reviewers.
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.
Certain kinds of things that the novel used to do, which was, "Oh, I'm living out here in West Nowhere, Nebraska and I'm curious how the upper class in New York City lives, I guess I'll read a novel about it." We don't have to do that now. You just turn on the TV. Turn on Lifestyles Of The Rich And Famous. You can get that information anywhere. Novels don't have to do that anymore.
Before I begin a novel I have a strong sense of at least one central character and how the story begins, and a more vague sense of where things may wind up, but at some point, if the novel is any good at all, the story and characters take on lives of their own and take over the book, and the writer has to be open to that.
Listening to people discussing a novel can be very interesting, if you've read whatever novel is being discussed. No one, it seems, ever says, "This is a great book but I didn't like it." Taking a little time to think about why this might be has been very liberating.
Were the judgments of mankind correct, custom would be regulated by the good. But it is often far otherwise in point of fact; for, whatever the many are seen to do, forthwith obtains the force of custom. But human affairs have scarcely ever been so happily constituted as that the better course pleased the greater number. Hence the private vices of the multitude have generally resulted in public error, or rather that common consent in vice which these worthy men would have to be law.
Writers are notoriously unable to know about themselves. Faulkner thought 'The Fable' was his best novel. F. Scott Fitzgerald liked 'Tender Is the Night,' an experimental novel.
In terms of fiction, there are a number of writers who are thinking about the future of the environment whose work complements mine. Kim Stanley Robinson's novel 2312 is a great example, as is Tobias Buckell's novel Arctic Rising.
The point is, that the function of the novel seems to be changing; it has become an outpost of journalism; we read novels for information about areas of life we don't know - Nigeria, South Africa, the American army, a coal-mining village, coteries in Chelsea, etc. We read to find out what is going on. One novel in five hundred or a thousand has the quality a novel should have to make it a novel - the quality of philosophy.
I have only one bit of advice to beginning writers: be sure your novel is read by Rodgers and Hammerstein.
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