A Quote by Milan Kundera

Is a novel anything but a trap set for a hero? — © Milan Kundera
Is a novel anything but a trap set for a hero?
There is no trap so deadly as the trap you set for yourself.
I was a huge fan of J. Courtney Sullivan's novel 'Maine,' and like that novel, 'Saint' is a family saga set in Boston. Irish Catholic family secrets - is there anything better?
The hero of a mainstream stand-alone novel can get by with things the hero of a sweet traditional category romance wouldn't dream of doing.
I don't want to write a novel per year. I know that I need a break of one or two years. So maybe I invent some new, urgent activity so I don't fall into the trap of starting a new novel.
When I complete a novel I set it aside, and begin work on short stories, and eventually another long work. When I complete that novel I return to the earlier novel and rewrite much of it. In the meantime the second novel lies in a desk drawer.
I read all of the nonfiction that I could find on Chechnya, and all the while, I was searching for a novel that was set there. I couldn't find a single novel written in English that was set in the period of the two most recent Chechen wars.
One easy mistake to make with the first novel is to expand the short story. Some things are better as a story; you cannot dilute things into a novel. I think the first hundred pages of a novel are very important. That's where you set things up: the world, the characters. Once you've set that up, it'll be much easier.
Choice is bondage, choicelessness freedom. The moment you choose something, you have fallen in the trap of the world. If you can resist the temptation to choose, if you can remain choicelessly aware, the trap disappears on its own accord, because when you don`t choose you don`t help the trap to be there - the trap is also created by your choice.
If I'm a genre writer, I'm at the edge. In the end, they do work like genre fiction. You have a hero, there's a love interest, there's always a chase, there's fighting of some kind. You don't have to do that in a novel. But you do in a genre novel.
Like my hero Virginia Woolf, I do lack confidence. I always find that the novel I'm finishing, even if it's turned out fairly well, is not the novel I had in my mind. I think a lot of writers must negotiate this, and if they don't admit it, they're not being honest.
And if you can find any way out of our culture, then that's a trap too. Just wanting to get out of the trap reinforces the trap.
The novel is not the author's confession; it is an investigation of human life in the trap the world has become
If you try to nail anything down, in the novel, either it kills the novel, or the novel gets up and walks away with the nail.
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'm never interested in writing a kind of neutral, universal novel that could be set anywhere. To me, the novel is a local thing.
I think even a hero is someone who has sort of the flaw or imperfection of character. I remember Alice Walker saying that once - she'd written a novel about a civil rights hero, and it was someone who had this flaw, this central flaw.
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