A Quote by John Niven

When you are a novelist, you are used to making a narrative do what you want. — © John Niven
When you are a novelist, you are used to making a narrative do what you want.
I don't think people want to look at problems. They want a continuous narrative, an optimistic narrative. A narrative that says there's a present and a future - and what was in the past no longer exists.
I think of myself as a narrative artist. I don't think of myself as a novelist or screenwriter or playwright. All of those modalities of processing and experiencing narrative are obviously very different, and I'm not sure that I prefer any one to the other. I think the novel gives you the opportunity to have a kind of interiority that you can't have in the theater, which is pure exteriority.
I've always wanted to be a novelist, so I just try to write really great narrative.
If you are a novelist of a certain type of temperament, then what you really want to do is re-invent the world. God wasn't too bad a novelist, except he was a Realist.
If you are a novelist of a certain type of termperament, then what you really want to do is re-invent the world. God wasn't too bad a novelist except he was a Realist.
Sigmund Freud was a novelist with a scientific background. He just didn't know he was a novelist. All those damn psychiatrists after him, they didn't know he was a novelist either.
If the memoirist is borrowing narrative techniques from fiction, shouldn't the novelist borrow a few tricks from successful non-fiction?
I want the vetting to be solid. But I also want to bring these people in because not bringing them in sends a message, right, to the Muslim world and plays into the ISIS narrative and the Al Qaeda narrative, right, that this is a war between religions. And we can't have that.
If there was no risk, it wouldn't be art. It wouldn't be worth making. There is risk even in a fairy tale. Fiction is closest to pure narrative, and pure narrative is simply the logic we try to impose on an ever-changing reality.
I want there to be hints of narrative everywhere in the image so that people can make up their own stories about them. But I don't want to have my own narrative and force it on to them.
I always wanted to be a writer, and I did want to be a novelist. In college I took a couple of classes that taught me I would never be a novelist. I discovered I had no imagination. My short stories were always thinly veiled memoir.
In terms of style, I think the memoirist should have a novelist's skill and all the elements of a novelist's toolbox. When I read a memoir, I want to really, deeply experience what the author experienced. I want to see the characters and hear the way they speak and understand how they think. And so in that way, writing a memoir feels similar to writing a novel.
I want to photograph what I see and put it in a dramatic context. I'm an actor and a writer, and I want to tell these stories and present these shapes, colors and movements as I see them, as I see them serve a narrative. As I see that narrative serve an audience. That's what I want to do.
Ideally, writers and narrative designers should be included much earlier in the process, where they can be of most benefit. However, although the industry is slowly getting used to fitting narrative professionals into games development, we're still going through a bit of a 'square-peg in a round hole' phase.
What I'm really proud of Beyonce and Solange, they understand the importance of creating the narrative. It's all about the narrative and how you position yourself with your narrative.
My songs used to be significantly more bizarre. I used to play a big electric piano and a loop pedal. I was really into Regina Spektor, and I liked her narrative lyrics that were quite off the wall. I used to layer things up and try and replicate what I'd been doing with my bedroom recordings.
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