A Quote by Marco Roth

The contemporary memoir is playing an important role in at least just bringing certain relationships out into the open in American society, and also it's a place where the novel of development, the novel of consciousness, has gone.
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.
There's a difference between doing memoir and writing a novel. If I had put the story of the boy killing my dog - and that was Eric also, what a little monster he was! - in a novel, even if I took it directly from life, it would be fiction.
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.
If you're writing a book where you want to make a positive truth claim, then you should absolutely call it nonfiction or memoir. If you don't want to make that claim - if that's not what's important to you; if you're more interested in storytelling and interiority and interpersonal relationships than in objective, checkable facts about the world - then why wouldn't you call it a novel, and take advantage of what that gets you, of the extra freedom, of belonging to the tradition of the novel?
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.
There's no such thing as the contemporary novel. Before I seem the complete reactionary, let me add that I've happily joined in many discussions about 'the contemporary novel' where what that usually, unproblematically means is novels that have appeared recently or may appear soon.
If a novel reveals true and vivid relationships, it is a moral work, no matter what the relationships consist in. If the novelisthonours the relationship in itself, it will be a great novel.
I wrote 'Don't Look Back' in November 2011, and when I wrote the novel, it wasn't contracted, so there was a freedom in that - no expectations or anything like that. It was also my first contemporary novel I'd written and sold, which was to Disney/Hyperion in January of 2012.
The point is, that the function of the novel seems to be changing; it has become an outpost of journalism; we read novels for information about areas of life we don't know - Nigeria, South Africa, the American army, a coal-mining village, coteries in Chelsea, etc. We read to find out what is going on. One novel in five hundred or a thousand has the quality a novel should have to make it a novel - the quality of philosophy.
The first novel I wrote, 'The White House Mess,' was a comic novel. It came out in 1986. It was a parody in the form of a White House memoir.
Each time I write a new piece, whether a novel, a picture book, a speech or anything, really, it has so much to do with what I'm going through personally or a problem I'm trying to work out. When I wrote my novel 'Baby,' my three children had all just gone out the door.
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.
I've been thinking a lot about why it was so important to me to do The Idiot as a novel, and not a memoir. One reason is the great love of novels that I keep droning on about. I've always loved reading novels. I've wanted to write novels since I was little. I started my first novel when I was seven.I don't have the same connection to memoir or nonfiction or essays. Writing nonfiction makes me feel a little bit as if I'm producing a product I don't consume - it's a really alienating feeling.
A novel means a new way of doing a story. If you go back the origins of a novel, 'Clarissa' - that's not a novel; it's just a bunch of letters. But it isn't! Because it's organised in a particular way! A novel is what you make of it.
I usually submit a novel at a certain number of words, and when I've finished working with my editor, the novel is longer than when I submitted it. I need my editor to help me open up the story.
The contemporary crime novel is, at its best, a novel of character. That's where the suspense comes from.
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