A Quote by Jhumpa Lahiri

When I am experiencing a complex story or novel, the broader planes, and also details, tend to fall away. — © Jhumpa Lahiri
When I am experiencing a complex story or novel, the broader planes, and also details, tend to fall away.
The elements of a good story are most definitely details, little bitty details. That does it, especially when you're describing, when you're setting the scene and everything. It's like you're painting a picture, so details are very important. Also, the music gotta be right. The music can really set the tone for the story and let you know what the story is gonna be about, but definitely, it's the vibe in the place where you at and the detail.
Romantic fiction, in the broader sense, can be any novel that has a love story somewhere in it. It can be a mystery or a historical novel, as long as it has this very strong romantic thread running through it.
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.
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 short story, free from the longuers of the novel is also exempt from the novel's conclusiveness--too often forced and false: it may thus more nearly than the novel approach aesthetic and moral truth.
But where do they find these lines in nature? I can only see luminous or obscure masses, planes that advance or planes that recede, reliefs or background. My eye never catches lines or details.
You have such a sacred responsibility when you touch John Lewis's story, when you touch the story of the movement. You don't want to leave anything out, but you want to tell a good story so the people will read it and they're engaged and they don't fall apart with extraneous details.
In some ways, writing a novel, especially a novel set in the past and about characters who once lived, is about amassing enough details and arranging them properly in order to offer the reader a verisimilitude that satisfies his or her curiosity about the story at hand.
Our culture already has a number of well known stories about artificial life and non-human intelligence. In 'Exegesis,' I've tried to not only tell a new and engaging story but also to comment on those well known stories through the details of my novel.
I am a master of fiction. I am also the greatest crime novelist who ever lived. I am to the crime novel in specific what Tolstoy is to the Russian novel and what Beethoven is to music.
I think with something like 'Watchmen' you can genuinely call that a graphic novel because it has the weight and the intent of a proper novel and it also is the complete story.
I think with something like Watchmen you can genuinely call that a graphic novel because it has the weight and the intent of a proper novel and it also is the complete story.
But when I say it isn't meant for anyone's eyes, I don't mean it in the sense of one of those novel manuscripts people keep in a drawer, insisting they don't care if anyone else ever reads it or not.The people I have known who do that, I am convinced, have no faith in themselves as writers and know, deep down, that the novel is flawed, that they don't know how to tell the story, or they don't understand what the story is, or they haven't really got a story to tell. The manuscript in the drawer is the story.
Unfortunately, as much as I am gullible, I also hate lying. I tend to tell the truth a lot... lying just isn't worth it. But I think I'm guilty of telling people that I'm 5 minutes away when really I'm about 45 or an hour away.
When I am writing a story it feels as real as the life I am experiencing off the page. It's an emotional illusion, I guess.
A form wherein we can enjoy simultaneously what is best in both the novel and the short story form. My plan was to create a book that affords readers some of the novel's long-form pleasures but that also contains the short story's ability to capture what is so difficult about being human - the brevity of our moments, their cruel irrevocability.
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