A Quote by Jo Nesbo

Ever since I was in my teens I had plans at one point in my life to write a novel. — © Jo Nesbo
Ever since I was in my teens I had plans at one point in my life to write 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.
There comes a point when you're writing a novel when you're in it so deep that the life of the novel becomes more real to you than life itself. You have to write your way out of it; once you're there, it's too late to abandon.
I couldn't ever write a straight crime novel: there'd be an intrusion of weirdness at some point.
Fans and reporters, they don't get that ever since I was five, all I've done is competed against something. I always had a goal. Then, whenever you hit a point, there's a point in an athlete's life where it's like, 'Is it still worth it?'
I think in general in my teens I had a lot of crushes on men on the Internet, most notably Momus since I was in my late teens. John Darnielle was also another big crush.
I had just begun an M.A. in Creative Writing, and I had to write a novel, so I began writing a novel that later became 'A Life Apart.'
I felt I had a very innocent childhood and I feel privileged by that. But as an adult, I know that there were people who didn't have that. There are a lot of teens who haven't had as easy a childhood as me, and having literature that explores these "darker" parts helps relieve the burden and stress they may be feeling. As a writer, there is often a temptation to draw back when we write for teens - to preserve their innocence. But the reality is, if someone has already had that innocence taken in their life, then not writing about it is just brushing it under the rug.
Since I cant write the greatest American novel, Im going to write the longest American novel.
From the beginning [of the Lincoln in the Bardo], I actually had it in mind not to write a novel. I'd kind of gotten past that point where I felt bad for never having written a novel, even to where I felt really good about it, like I was a real purist.
My readers often tell me that what they admire about my books is my ability to write from so many points of view. My challenge to myself is whether I'll ever be able to write a novel just from one point of view. It seems impossible.
I think the most bonkers and tiring job I've ever had was in my teens where I worked in Woolworths in the Christmas period. That level of tired I've never really felt since.
It's an unusual way to write a crime novel, to have these lingering, fairly large story points, but it's something I knew I had to do if I wanted to write a sequel...but, you know, people still have to read and enjoy this book, or it's a moot point.
I set out to write a screenplay but, since my early 20s, had dreamed of writing a novel.
Since I can't write the greatest American novel, I'm going to write the longest American novel.
Being poor with three small children is terrifying. You can't make any plans. You know you're not going on holiday, ever. There's no way you could ever afford driving lessons or a car. And the guilt I used to feel: they had holes in their shoes, and at one point, I had to send them to school wearing Wellingtons when the sun was shining.
Older teens tend to write to me and say, 'Thank you for not writing down to teenagers.' And then there are the letters from adults who say, 'This is such a good book; why did you write it for teens?'
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