A Quote by S. S. Van Dine
There are few punishments too severe for a popular novel writer.
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A critic is never too severe when he only detects the faults of an author. But he is worse than too severe when, in consequence of this detection, be presumes to place himself on a level with genius.
My paintings have gotten to be pretty popular and I've taken a little bit more interest in painting the last few years. In fact, my novel that I wrote not too long ago, 'The Hornet's Nest,' I painted the cover picture for it and I do a good bit of painting now.
It's a very funny topic, missing weight and getting title shots. I think the punishments should be more severe, but I don't know.
When I first began to write fiction, I didn't think I was a comic writer; I thought I was a serious writer. I was surprised when the first novel I wrote was regarded as a funny novel.
Admitting weakness seems to be such a severe psychic threat for Bush that when he makes a mistake it's safer just to reinforce it. The strategy creates a perverse system of rewards and punishments.
Admitting weakness seems to be such a severe psychic threat for Bush that when he makes a mistake it's safer just to reinforce it. The strategy creates a perverse system of rewards and punishments
No writer, I believe, should attempt a novel before he is thirty, and not then unless he has been hopelessly and helplessly involved in life. For the writer who goes out to find material for a novel, as a fishermen goes out to sea to fish, will certainly not write a good novel. Life has to be lived thoughtlessly, unconsciously, at full tilt and for no purpose except its own sake before it becomes, eventually, good material for a novel.
It is often too easy to explain a novel idea to a few enlightened persons with a few words. But to enlighten about the same to many people, too many words are often required
Yes?’ he asked, looking at me over the sheet. ‘I’m a writer temporarily down on my inspirations.’ ‘Oh, a writer, eh?’ ‘Yes.’ ‘Are you sure?’ ‘No, I’m not.’ ‘What do you write?’ ‘Short stories mostly. And I’m halfway through a novel.’ ‘A novel, eh?’ ‘Yes.’ ‘What’s the name of it?’ ‘”The Leaky Faucet of My Doom.”‘ ‘Oh, I like that. What’s it about?’ ‘Everything.’ ‘Everything? You mean, for instance, it’s about cancer?’ ‘Yes.’ ‘How about my wife?’ ‘She’s in there too.
I cringe when critics say I'm a master of the popular novel. What's an unpopular novel?
Now, as a reader, you shouldn't feel the decisions the writer makes about this DNA, or it would be boring beyond belief. But, as a writer, you're struggling to make these decisions. What should the title be? What's the first line? The point of view? And the struggle with the decisions is because you're trying to figure out WHAT IS THE NOVEL, WHAT IS THE NOVEL?
I think the press does, too; it's just the few crazies and paparazzi that give them a bad name. Real writers write good things. My daughter's a writer, and she's a quality writer.
I was a teenager when General Zia took power in the Pakistan; I was in my twenties when I went there during the late 1980s and I saw then not only the novel punishments that he was introducing - because they were novel, and this is again something that's very important to understand, it's only in the last thirty, forty years, since 1979 in fact, that these penalties have been revived anywhere in the world apart from Saudi Arabia.
Mark Twain was so good with crowds that he became, in competition with singers and dancers and actors and acrobats, one of the most popular performers of his time. It is so unusual, and so psychologically unlikely, too, for a great writer to be a great performer, too.
You can't have a novel without real, believable people, and once you get into either too theoretical a novel or too philosophical a novel, you get into the dangers that the French novel has discovered in the past 50 or 60 years. And you get into a sort of aridity. No, you have to have real, identifiable people to whom the reader reacts in a way as if they were real people.
Here's what I want from a book, what I demand, what I pray for when I take up a novel and begin to read the first sentence: I want everything and nothing less, the full measure of a writer's heart. I want a novel so poetic that I do not have to turn to the standby anthologies of poetry to satisfy that itch for music, for perfection and economy of phrasing, for exactness of tone. Then, too, I want a book so filled with story and character that I read page after page without thinking of food or drink because a writer has possessed me, crazed with an unappeasable thirst to know what happens next.
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