A Quote by Karin Slaughter
You can take risks with the characters and their development in a standalone novel.
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But to be perfectly frank, this childish idea that the author of a novel has some special insight into the characters in the novel ... it's ridiculous. That novel was composed of scratches on a page, dear. The characters inhabiting it have no life outside of those scratches. What happened to them? They all ceased to exist the moment the novel ended.
There are some risks we choose to take because the benefits from taking them exceed the possible costs. Optimal behavior takes risks that are worthwhile. This is the central paradigm of finance: we must take risks to achieve rewards, but not all risks are equally rewarded.
There are so few shows that are willing to take risks with their characters in the way that 'Homeland' does. And yet, the audience still comes back and loves those characters.
If designers are willing to take risks, I think buyers should take risks, as well with press taking risks.
The thing I preach constantly is do your research; build your knowledge base. Don't just go into business on a whim or a prayer - and don't think 'I'm an entrepreneur so I have to take risks'. Entrepreneurs don't take risks. They take calculated risks; only the good ones.
I write easily, let's put it that way. And in a novel particularly, the characters take over. And they tell me what to say and they tell me what they're doing. And I'm a third of the way into a novel and then I just let the characters finish it for me.
The trick is to take risks and be paid for taking those risks, but to take a diversified basket of risks in a portfolio.
Introduce your main characters and themes in the first third of your novel. If you are writing a plot-driven genre novel make sure all your major themes/plot elements are introduced in the first third, which you can call the introduction. Develop your themes and characters in your second third, the development. Resolve your themes, mysteries and so on in the final third, the resolution.
We are all potentially characters in a novel--with the difference that characters in a novel really get to live their lives to the full.
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.
The philosophy of individualism owes a great deal to the tradition of novel-writing and novel-reading. In its development and in its aesthetics, the novel is not politically neutral; it has been a participant in history all along.
The trouble is that the risks that are being hedged very well by new financial securities are financial risks. And it appears to me that the real things you want to hedge are real risks, for example, risks in innovation. The fact is that you'd like companies to be able to take bigger chances. Presumably one obstacle to successful R&D, particularly when the costs are large, are the risks involved.
When I'm writing a novel, one of the things I do is get big poster boards. They're actually canvases that artists use. And I keep all the characters' names on them. If you write a big novel, there's a lot of characters.
The writer has to take risks and go somewhere full of mystery and possibility for the novel to deepen over the years it takes to write it.
When large companies take on risk, then they impose risks on the rest of the system. And these are systemic risks and these systemic risks we never used to think were really that important, but as soon as we recognize how the financial sector - the risks the financial sector takes on can impact the entire global economy, we realize that those risks needed to be controlled for the social good.
'Sanctus' was done on speculation. I had no agent or publisher. I was being sensible, I suppose, by writing a standalone novel. I figured if that one didn't work, no one would be interested in reading a sequel.
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