A Quote by Peter Hedges
A novel is challenging, because you have more story than you need and you have to select and narrow.
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You have choice. You can select joy over despair. You can select happiness over tears. You can select action over apathy. You can select growth over stagnation. You can select you. And you can select life. And it's time that people tell you you're not at the mercy of forces greater than yourself. You are, indeed, the greatest force for you.
A romance novel is more than just a story in which two people fall in love. It's a very specific form of genre fiction. Not every story with a horse and a ranch in it is a Western; not every story with a murder in it is a mystery; and not every book that includes a love story can be classified as a romance novel.
I always think it's interesting to switch genres, because if I read a script and I know exactly how to manifest a story, I don't really want to do it anymore, because I've already done it in my head. It becomes less interesting. If I read something that's challenging, I get really passionate and usually fall in love with it, because I feel I need to do it. I need to tell the story; I need to find a way to make it happen.
The short story, free from the longuers of the novel is also exempt from the novel's conclusiveness--too often forced and false: it may thus more nearly than the novel approach aesthetic and moral truth.
A short story is confined to one mood, to which everything in the story pertains. Characters, setting, time, events, are all subject to the mood. And you can try more ephemeral, more fleeting things in a story - you can work more by suggestion - than in a novel. Less is resolved, more is suggested, perhaps.
The short story is at an advantage over the novel, and can claim its nearer kinship to poetry, because it must be more concentrated, can be more visionary, and is not weighed down (as the novel is bound to be) by facts, explanation, or analysis. I do not mean to say that the short story is by any means exempt from the laws of narrative: it must observe them, but on its own terms.
I usually submit a novel at a certain number of words, and when I've finished working with my editor, the novel is longer than when I submitted it. I need my editor to help me open up the story.
'J' is a novel. A story about what it is like for people after a terrible event. And it is a love story, because I feel a novel is inevitably a love story.
A novel means a new way of doing a story. If you go back the origins of a novel, 'Clarissa' - that's not a novel; it's just a bunch of letters. But it isn't! Because it's organised in a particular way! A novel is what you make of it.
When a novel is based on an actual crime, it should do much more than loosely fictionalize it. The novel must stand alone as a work of art that justifies using the story for its own purposes.
The average detective story is probably no worse than the average novel, but you never see the average novel. It doesn't get published. The average -- or only slightly above average -- detective story does.... Whereas the good novel is not at all the same kind of book as the bad novel. It is about entirely different things. But the good detective story and the bad detective story are about exactly the same things, and they are about them in very much the same way.
In my brief writing life, it means I am still lucky that I have at least one more novel to complete. I do not expect that a story will arrive just because it is time to write another novel. It doesn't happen that way.
In a short story, you can use someone - we're only going to be with that person for maybe 10 pages, and they can have sort of a one note personality. And in a novel, you need to have arrows pointing more than one direction for that person.
The reason books get banned, but movies can do almost anything is because the novel is more powerful than a movie. The reader is part of the creation of the story because they must imagine and envision it. There is creation in the act of reading.
Philip Galanes makes his debut with a novel that is both heartbreaking and deftly comic, the story of a young man struggling with his most primitive desires--wanting and needing. It is a novel about the complex relationships between parents and children, a story of loss and of our unrelenting need for acknowledgment, to be seen as who we are. And in the end it is simply a love story for our time.
Yes sir. You can be more careless, you can put more trash in [a novel] and be excused for it. In a short story that's next to the poem, almost every word has got to be almost exactly right. In the novel you can be careless but in the short story you can't. I mean by that the good short stories like Chekhov wrote. That's why I rate that second - it's because it demands a nearer absolute exactitude. You have less room to be slovenly and careless. There's less room in it for trash.
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