A Quote by Michael Cunningham

I seem to produce a novel approximately once every three years. — © Michael Cunningham
I seem to produce a novel approximately once every three years.
For the next approximately three years, I have got Nathan to take care of. I know that once he graduates from high school, he will be off doing whatever it is he is going to be doing - probably playing ice hockey.
A novel is a collision of ideas. Three or four threads may be floating around in the writer's consciousness, and at a single moment in time, these ideas collide and produce a novel.
Once I had started, I discovered the secret pleasure of writing a novel. It's such an immersive, deep commitment. With short stories, you're continually having to start again from scratch, but with a novel you only need one good idea every few years.
I've not been a prolific poet, and it always seemed to me to be a bad idea to feel that you had to produce in order to get... credits. Production of a collection of poems every three years or every five years, or whatever, looks good, on paper. But it might not be good; it might be writing on a kind of automatic pilot.
I had left the music industry at the end of 2001, after 10 years, and had spent three years writing every single day - producing two unpublished novels, one abandoned novel, and three unproduced screenplays. The word 'no' and I were on more than nodding terms. The word 'no' and I were talking about going on holiday together.
Once in a while - perhaps every 10 years, or even every generation - a novel appears that profoundly questions the way we look at the world, and at ourselves. Beijing Coma is a poetic examination not just of a country at a defining moment in its history, but of the universal right to remember and to hope. It is, in every sense, a landmark work of 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.
I have never started a novel - I mean except the first, when I was starting a novel just to start a novel - I've never written one without rereading Victory. It opens up the possibilities of a novel. It makes it seem worth doing.
I believe in practicing prudence at least once every two or three years.
Every time that I write a novel I am convinced for at least two years that it is the last one, because a novel is like a child. It takes two years after its birth. You have to take care of it. It starts walking, and then speaking.
You can't have a novel without real, believable people, and once you get into either too theoretical a novel or too philosophical a novel, you get into the dangers that the French novel has discovered in the past 50 or 60 years. And you get into a sort of aridity. No, you have to have real, identifiable people to whom the reader reacts in a way as if they were real people.
The legendary Buddhist flower udumbara is believed to blossom once every three millennia! What about the Flower of Peace? In every ten million years?
The Senate is now considering increasing government subsidies for corn growers to produce more ethanol. If we produce enough ethanol we can postpone our next invasion of a Middle Eastern country for two to three years.
May you eat an unfamiliar dessert in a strange land at least once every three years.
A good novel is an indivisible sum; every scene, sequence and passage of a good novel has to involve, contribute to and advance all three of its major attributes: theme, plot, characterization.
Every once in awhile you find a novel so magical that there is no escaping its spell. The Night Circus is one of these rarities - engrossing, beautifully written and utterly enchanting. If you choose to read just one novel this year, this is it
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