A Quote by Paul Auster

Movies are not novels, and that's why, when filmmakers try to adapt novels, particularly long or complex novels, the result is almost always failure. It can't be done.
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.
For a long time, since story collections look almost precisely like novels, I presumed that they were meant to be enjoyed in the same way as novels.
My novels tend to take a long time to become exactly what they're going to be. They're fluid messes until I've done a ton of editing and refining and rewriting. When I write novels, I always make related scrapbooks to help me organize and test my intentions.
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.
I was a sci-fi addict when I was a kid and a teenager. Novels, graphic novels, movies, it was my way to deal with reality.
When I write a novel, I want it to be completely different from a screenplay. I'm very conscious of the difference, and I want novels to work purely as novels. Otherwise I don't see how they'll survive - why don't we just all go to the movies or watch television.
I have read all my novels that were translated into English. Reading my novels is enjoyable because I forget almost all the content in them.
I write my novels personally, desperately and non-negligently. When I write my novels, I think about my novels only, and never do other works.
I grew up on genre - on Westerns, spy thrillers, sci-fi, fantasy novels, horror novels. Especially horror novels.
When I am writing novels I don't read a lot of novels so I try to catch up in-between.
In Pakistan, many of the young people read novels because in the novels, not just my novels but the novels of many other Pakistani writers, they encounter ideas, notions, ways of thinking about the world, thinking about their society that are different. And fiction functions in a countercultural way as it does in America and certainly as it did in the, you know, '60s.
All things in my novels are real for me. Some western critics said that Garcia Marquez's novels are magic realism. However, I believe that Marquez must have experienced everything in his novels.
I'm not writing novels, the screenplays are my novels, so I'm gonna write it the best that I can. If the movie never gets made, it'd almost be okay because I did it. It's there on the page.
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?'
Growing up devouring horror comics and novels, and being inspired to become a writer because of horror novels, movies, and comic books, I always knew I was going to write a horror novel.
I'm a severe graphic novels junkie. People ask me about it, and I say I like the graphic novels. Comic books are for kids, and graphic novels are for adults. But you can't really separate the two.
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