A Quote by Rose Tremain

I can inhabit any character in a way that is difficult to do successfully in a contemporary novel. — © Rose Tremain
I can inhabit any character in a way that is difficult to do successfully in a contemporary novel.
The contemporary crime novel is, at its best, a novel of character. That's where the suspense comes from.
Some TV shows are like really good novels in that there are enough episodes that you start to have your own feelings about how the characters should act. When the scriptwriters go slightly wrong, when they make the character make a left turn that he or she wouldn't do, you know enough about the characters to say, "No, that's not what she would do there. That's wrong." You can actually argue with a TV show in a way that you can't do as much with movie - you inhabit a TV show in the way you inhabit a novel.
There's no such thing as the contemporary novel. Before I seem the complete reactionary, let me add that I've happily joined in many discussions about 'the contemporary novel' where what that usually, unproblematically means is novels that have appeared recently or may appear soon.
Stories in which the player doesn't inhabit the main character are difficult for games to handle.
Sometimes when a character in a novel is difficult for me to enter, I sue something in myself or in my own life as a doorway into that character's mind and emotions.
'The Turnaround' isn't even really a crime novel. But you need conflict to make a novel, any kind of novel, and I don't know any other way to do it than crime.
The job of the writer is to take a close and uncomfortable look at the world they inhabit, the world we all inhabit, and the job of the novel is to make the corpse stink.
I found my first novel difficult. I don't want to make it sound like it's any more difficult than driving a cab or going to any other job, but there are so many opportunities for self-doubt, that you just kind of need to soldier on.
The ability to get inside your character's head in a graphic novel is really fun and useful because one, you can really define the character's voice and two, it's a way easier way to convey what the character's thinking by actually laying out what he's thinking.
I've always been a fan of the 19th century novel, of the novel that is plotted, character-driven, and where the passage of time is almost as central to the novel as a major minor character, the passage of time and its effect on the characters in the 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.
For my part, the good novel of character is the novel I can always pick up; but the good novel of incident is the novel I can never lay down.
A novel, I think, is partly about the contemporary and partly about the eternal, and it's the balance of that that's difficult to achieve.
I had noticed that many of these successful people, historical and contemporary, shared certain common traits. They had a way of thinking that was exceptionally fluid; they could adapt to almost any circumstance; when confronted with problems, they could look at them from novel perspectives and solve them.
I simply channeled a character, this time I allowed the character to inhabit me.
However, the difficulties and pleasures of the writing itself are similar for a novel with a historical setting and a novel with a contemporary setting, as far as I'm concerned.
This site uses cookies to ensure you get the best experience. More info...
Got it!