A Quote by Lev Grossman

Nothing is wrong with you. You're not different. Everybody feels as bad as you do: this is just what writing a novel feels like. To write a novel is to come in contact with raw, primal feelings, hopes and longings and psychic wounds, and try to make a big public word-sculpture out of them, and that is a crazy hard thing to do.
Objectifying your own novel while writing it never really helps. Instead, I guess while you're writing you need to think: This is the novel I want to write. And when you're done you need to think: This is what the novel I wanted to write feels like and reads like and looks like. Other people might call it sweeping or small, but it's the book you chose.
Beginning a novel is always hard. It feels like going nowhere. I always have to write at least 100 pages that go into the trashcan before it finally begins to work. It's discouraging, but necessary to write those pages. I try to consider them pages -100 to zero of the novel.
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.
Writing a graphic novel is hard. It feels closer to a screen play than to a novel.
Writing the novel felt so private to me! I think publishing a novel is quite public and exposing, and what's a little frightening to me right now is the fact that it feels so entirely opposed to the privacy that is writing.
I would like to write a novel, or at least try to write one, although my motives are not entirely pure. For one thing, I get asked about writing novels so much that I feel guilty about never having written one. And although I have no strong desire to write a novel, I would hate not to try. That would just be silly. On the other hand, I hate the idea of slogging through something that turns out to be not good.
I think a good story can do as much as a novel; not the exact same thing, of course, but just as much artistically. They're different beasts, but to tackle an expansive country like the United States, you're either going to write a big novel, or go in to various points on the map and write stories or poems.
Writing a novel is not at all like riding a bike. Writing a novel is like having to redesign a bike, based on laws of physics that you don't understand, in a new universe. So having written one novel does nothing for you when you have to write the second one.
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.
It all adds up; never discount your efforts, because small efforts build big things. One word doesn't make a novel, but one word does begin a novel, and from that small beginning everything else follows. Even if it's just 'The', write something on that blank page.
I have read a thousand screenplays, and I have acted in a handful of them, and I have felt when it feels good, the writing, and it feels natural, and feels funny or sad or honest or whatever it may be. You connect. And I felt when it feels like writing, when it feels stale, or when it feels artificial or forced, or too theatrical or whatever.
In reading a novel, any novel, we have to know perfectly well that the whole thing is nonsense, and then, while reading, believe every word of it. Finally, when we're done with it, we may find - if it's a good novel - that we're a bit different from what we were before we read it, that we have changed a little... But it's very hard to say just what we learned, how we were changed.
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.
I think the success of every novel - if it's a novel of action - depends on the high spots. The thing to do is to say to yourself, 'Which are my big scenes?' and then get every drop of juice out of them. The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through?
I prefer a great novel, but many novels come with a bunch of novel-y writerliness that feels sort of macho to me, so I do end up reading lots of shorter things.
The speed of the TV stuff vs. the self-imposed pace of novel writing has been a big adjustment, and going back and forth often feels like whiplash.
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