A Quote by Oscar Wilde

In every first novel the hero is the author as Christ or Faust. — © Oscar Wilde
In every first novel the hero is the author as Christ or Faust.
If I can give a young author any advice, whatsoever, never let anyone announce the film sale of your first novel. Film rights are sold to almost every novel, but it shouldn't be the lead story in your first engagement with the press. Then you end up getting reviews like "a novel made for the screen" and things like that.
Because every book of art, be it a poem or a cupola, is understandably a self-portrait of its author, we won't strain ourselves too hard trying to distinguish between the author's persona and the poem's lyrical hero. As a rule, such distinctions are quite meaningless, if only because a lyrical hero is invariably an author's self-projection.
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 was keen to stage 'Faust,' although I find Goethe's 'Faust' indigestible.
A good novel tells us the truth about its hero; but a bad novel tells us the truth about its author.
This first print run of the first edition of my first novel, 'When The Lion Feeds.' back in 1964, is so rare it can fetch several thousand pounds at auction. I always wanted to be an author, and I decided to write about what I knew.
When I read a novel that I really like, I feel as if I am in direct, personal communication with the author. I feel as if the author and I are on the same wavelength mentally, that we have a lot in common with each other, and that we could have an interesting conversation, or even a friendship, if the circumstances permitted it. When the novel comes to an end, I feel a certain letdown, a loss of contact. It is natural to want to recapture that feeling by reading other works by the same author, or by corresponding with him/her directly.
Christ is the Master; the Scriptures are only the servant. The true way to test all the Books is to see whether they work the will of Christ or not. No Book which does not preach Christ can be apostolic, though Peter or Paul were its author. And no Book which does preach Christ can fail to be apostolic, although Judas, Ananias, Pilate, or Herod were its author.
Find me a first novel that doesn't have parallels with the author's life.
But to be perfectly frank, this childish idea that the author of a novel has some special insight into the characters in the novel ... it's ridiculous. That novel was composed of scratches on a page, dear. The characters inhabiting it have no life outside of those scratches. What happened to them? They all ceased to exist the moment the novel ended.
The novel that an author writes is often not the novel that the reader reads, and most of the 'messages' in a novel are put there by the reader. There's nothing wrong with that, of course. That's how literature functions.
Where the preamble declares, that coercion is a departure from the plan of the holy author of our religion, an amendment was proposed by inserting "Jesus Christ," so that it would read "A departure from the plan of Jesus Christ, the holy author of our religion;" the insertion was rejected by the great majority, in proof that they meant to comprehend, within the mantle of its protection, the Jew and the Gentile, the Christian and Mohammedan, the Hindoo and Infidel of every denomination.
I fantasised about becoming an author and wrote my first book at 18 - an introspective novel set in the 1920s.
I know publishing now more as an author than with occasional peaks inside those elite offices than as an industry insider. It was difficult publishing a novel the first time around, while working behind the scenes, knowing all that has to happen to make a book a success and to still make the leap as an author.
The disappointing second novel is measured against the brilliant first novel - often no novel lives up to the first. Literary improvement seems like an unfair expectation.
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.
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