A Quote by Philip Roth

Novel-writing is, for the novelist, a game of let's pretend. — © Philip Roth
Novel-writing is, for the novelist, a game of let's pretend.
I am a novelist. I traffic in subtleties, and my goal in writing a novel is to leave the reader not knowing what to think. A good novel shouldn't have a point.
In terms of style, I think the memoirist should have a novelist's skill and all the elements of a novelist's toolbox. When I read a memoir, I want to really, deeply experience what the author experienced. I want to see the characters and hear the way they speak and understand how they think. And so in that way, writing a memoir feels similar to writing a novel.
The biggest downside to being a novelist is writing the novel.
A short story is a sprint, a novel is a marathon. Sprinters have seconds to get from here to there and then they are finished. Marathoners have to carefully pace themselves so that they don't run out of energy (or in the case of the novelist-- ideas) because they have so far to run. To mix the metaphor, writing a short story is like having a short intense affair, whereas writing a novel is like a long rich marriage.
Sometimes writing a novel is not unlike having a baby. You'd have to ask a female novelist to compare the pain.
I resist when someone calls me a novelist: it implies some kind of inherent superiority of the novel. I'm not a novelist, I'm a writer.
I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist
I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist.
Why does any novelist keep writing long after they've made money? Because they've failed to write the perfect novel.
The most common human act that writing a novel resembles is lying. The working novelist lies daily, very complexly, and at great length.
If I'm writing a novel, I'll probably get up in the morning, do email, perhaps blog, deal with emergencies, and then be off novel-writing around 1.00pm and stop around 6.00pm. And I'll be writing in longhand, a safe distance from my computer. If I'm not writing a novel, there is no schedule, and scripts and introductions and whatnot can find themselves being written at any time and on anything.
Many novelists say, "I'm not a political novelist" - myself included. That's a standard, even a default position. Whereas that divide between art and politics simply isn't possible in many countries. In Hungary, you couldn't be a fiction writer and then, when asked about politics, put your hands up in the air and say "But I'm not a political novelist." If you're a Chinese novelist, a novelist in a country where censorship is such an issue, how do you claim that politics has nothing to do with your writing? It's in your writing, it's shaping your words.
When I'm writing a novel, I'm dealing with a double life. I live in the present at the same time that I live in the past with my characters. It is this that makes a novelist so eccentric and unpleasant.
I certainly wake up every morning and thank God that I'm not a novelist because the theater is tough, but novel writing is infinitely harder. Especially with the economics of serious fiction being what they are in America.
My political position springs from my being a novelist. In so far as I am concerned, politics and the novel are an indivisible case and I can categorically state that I became politically committed because I am a novelist, not the opposite.
Writing has to do with truth-telling. When you're writing, let's say, an essay for a magazine, you try to tell the truth at every moment. You do your best to quote people accurately and get everything right. Writing a novel is a break from that: freedom. When you're writing a novel, you are in charge; you can beef things up.
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