A Quote by Nicholas Sparks

I'm a novelist at heart. How's that? And that's how I make my living, is I write novels. — © Nicholas Sparks
I'm a novelist at heart. How's that? And that's how I make my living, is I write novels.
In effect I am not a novelist, but rather a failed essayist who started to write novels because he didn't know how to write essays.
I'm a novelist, that's how I make my livelihood, and I concentrate on the novels.
The preoccupation of the novelist: how to capture the living moments, was answered by the diary. You write while you are alive. You do not preserve them in alcohol until the moment you are ready to write about them.
To me, the newspaper business was a way to learn about life and how things worked in the real world and how people spoke. You learn all the skills - you learn to listen, you learn to take notes - everything you use later as a novelist was valuable training in the newspaper world. But I always wanted to write novels.
Many writers can't make a living. So to be able to teach how to write is valuable to them. But I don't really know about its value to the student. I don't mean it's useless. But I wouldn't have wanted anyone to teach me how to write.
I wrote my first two long novels and an anthology of short narratives, when I was a manager of my own jazz bar. There was not enough time to write and I didn't know how to write novels. Therefore, I made written collages of aphorisms and rags.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
The central question driving literary aesthetics in the age of the iPad is no longer 'How should novels be?' but 'Why write novels at all?'
Write, if you must; not otherwise. Do not write, if you can earn a fair living at teaching or dressmaking, at electricity or hod-carrying. Make shoes, weed cabbages, survey land, keep house, make ice-cream, sell cake, climb a telephone pole. Nay, be a lightning-rod peddler or a book agent, before you set your heart upon it that you shall write for a living.... Living? It is more likely to be dying by your pen; despairing by your pen; burying hope and heart and youth and courage in your ink-stand.
I am a writer, which means I write stories, I write novels, and I would write poetry if I knew how to. I don't want to limit myself.
I am not an evangelist. I am not a preacher. I am a musician. That is what I know how to do. I know how to write songs. I know how to write things that relate to my heart. I feel that I talk about God in every song, in everything I do - all of it! I really do not know how to respond. I do not relate to that.
That's the secret of how to enjoy writing and how to make yourself meet high standards," said Mrs. Berman. "You don't write for the whole world, and you don't write for ten people, or two. You write for just one person.
People lose it when I say this, but I'm a novelist who doesn't read novels. There are lots of good reasons for not reading novels! I'm also a game writer who doesn't play games - I keep everything very separate. The only crossover with me is comics. I write them, and I read them passionately.
A university is not, primarily, a place in which to learn how to make a living; it is a place in which to learn how to be more fully a human being, how to draw upon one's resources, how to discipline the mind and expand the imagination; how to make some sense out of the big world we will shortly be thrown into.
I'm a very old-fashioned novelist. I write 19th-century novels, where a lot of rules apply.
My first attraction to writing novels was the plot, that almost extinct animal. Those novels I read which made me want to be a novelist were long, always plotted, novels - not just Victorian novels, but also those of my New England ancestors: Herman Melville and Nathaniel Hawthorne.
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