A Quote by R. A. Salvatore

No one will ever write a fantasy novel better than The Hobbit. — © R. A. Salvatore
No one will ever write a fantasy novel better than The Hobbit.
Fantasy has a better chance of lasting than a lot of other things. The Hobbit and the Narnia books, they seem to get handed down father to son, mother to daughter. Because they're set in a fantasy world, they can remain relevant.
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 feel that whatever virtues the novel may have are very much connected with the limitations you mention. I am not writing a conventional novel, and I think that the quality of the novel I write will derive precisely from the peculiarity or aloneness, if you will, of the experience I write from.
I read 'The Hobbit' when I was twenty and first reading modern science fiction and fantasy. I followed it up with 'The Lord of the Rings,' which I still reread from time to time, but of the lot of it, I prefer 'The Hobbit.'
When I write short fiction or novellas, I like to leave a hint of the fantastic, of the unreal. If you write a completely fantastic novel with ghosts and everything, the effect is less powerful than if you portray an absolutely realistic situation and, in the middle of this, you put a layer of fantasy, of mystery.
Like lots of people who say, 'I'm going to write a novel,' it's actually more comfortable to think I could write a novel than to discover that you can't.
I've read every single fantasy novel there is. I mean, I would challenge a lot of people to read more fantasy novels than I have.
If 'The Hobbit' happens - and there's reason to believe that it will - then I think I'm in with a chance! Gollum is very much part of 'The Hobbit,' after all.
The book is almost always better than the movie. You could have no better case in point than FROM HELL, Alan Moore's best graphic novel to date, brilliantly illustrated by Eddie Campbell. It's hard to describe just how much better the book is. It's like, "If the movie was an episode of Battlestar Galactica with a guest appearance by the Smurfs and everyone spoke Dutch, the graphic novel is Citizen Kane with added sex scenes and music by your favourite ten bands and everyone in the world you ever hated dies at the end." That's how much better it is.
When I was growing up, I didn't feel strong. I felt weak. I felt like a scared little kid. So I naturally turned to books to deal with that feeling, and I really turned to fantasy. That's really what influenced my decision to write a fantasy novel.
I've told youngsters not to write their autobiographical novel at the age of twenty-one; to save it for the time when they're fifty-one or sixty-one. They should write other novels first, to learn their craft; they shouldn't cut their teeth on the valuable material of childhood because they'll never have better material, ever, to work with.
I've read fantasy my whole life. Quite literally; my mom read me The Hobbit before I could read stuff to myself. So I love fantasy; that's what I read for fun, it's what I read professionally to keep abreast of what's in the genre - it's where my heart is.
I do write long, long character notes - family background, history, details of appearance - much more than will ever appear in the novel. I think this is what lifts a book from that early calculated, artificial stage.
The thing with 'The West Wing' is that the fantasy was legitimately better than the reality - these were smarter, better people than their real-life counterparts, working together at a better White House than the one we had.
We write in a culture that favors the heft of the novel. Better still if the novel in question is large enough to be wielded interchangeably as a doorstop and a weapon.
I didn't plan to write YA - I had a story that simply wasn't working as a straight-up fantasy novel.
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