A Quote by Karl Wilhelm Friedrich Schlegel
Is it not superfluous to write more than one novel if the writer has not become, say, a new man? Obviously, all the novels of an author not infrequently belong together and are to a certain degree only one novel.
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Rereading one's own novels after many years is always a fraught business, but when a novel has fallen out of print - 'The Very Model of a Man' is the only novel of mine that has - and so crops up infrequently in conversations with readers or indeed with oneself, revisiting it can be perilous.
I think the path to becoming a writer has become more through the novel. It's easier to get a novel published than a book of stories, obviously, especially through big publishers.
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.
I can only write one novel at a time. The author of the Perry Mason novels, Erle Stanley Gardner, often worked on four novels simultaneously, and produced a million words a year. I'm envious.
I think everything you are, everything that engages you, eventually comes to bear on the novel you write. I think the creative energy in novel writing, obviously, comes from tension. From trying to fuse. From trying to make coherent disparate things that might not at all seem to belong together within a narrative.
Like lots of people who say, 'I'm going to write a novel,' it's actually more comfortable to think I could write a novel than to discover that you can't.
But novels are never about what they are about; that is, there is always deeper, or more general, significance. The author may not be aware of this till she is pretty far along with it. A novel's whole pattern is rarely apparent at the outset of writing, or even at the end; that is when the writer finds out what a novel is about, and the job becomes one of understanding and deepening or sharpening what is already written. That is finding the theme.
Growing up devouring horror comics and novels, and being inspired to become a writer because of horror novels, movies, and comic books, I always knew I was going to write a horror novel.
To write a novel may be pure pleasure. To live a novel presents certain difficulties. As for reading a novel, I do my best to get out of it.
Every novel is like this, desperation, a frustrated attempt to save something of the past. Except that it still has not been established whether it is the novel that prevents man from forgetting himself or the impossibility of forgetfulness that makes him write novels.
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.
I would have to say the novel 'War and Peace' influenced me more than any other book. This greatest of novels demonstrated to me the enormous power of literature and fired me up with a desire to become a writer, to participate in what I considered then to be the greatest of all endeavors.
Why do I like to write short stories? Well, I certainly didn't intend to. I was going to write a novel. And still! I still come up with ideas for novels. And I even start novels. But something happens to them. They break up. I look at what I really want to do with the material, and it never turns out to be a novel.
I do think some games are works of art, although their medium is visual rather than verbal. Both games and novels allow the reader/player to become a protagonist in the theater of the imagination. Both build worlds. In my opinion, the big difference between game and novel is in narrative structure. Communal role-playing games are open-plan without an end. A novel - at least the kind I write - has a closed structure with a beginning, a middle, and an end. I like that closed structure, and I feel I can say more with it.
It's very bad to write a novel by act of will. I can do a book of nonfiction work that way - just sign the contract and do the book because, provided the topic has some meaning for me, I know I can do it. But a novel is different. A novel is more like falling in love. You don't say, 'I'm going to fall in love next Tuesday, I'm going to begin my novel.' The novel has to come to you. It has to feel just like love.
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