A Quote by Sandra Gulland
The Confessions of Catherine de Medici is a dramatic, epic novel of an all-too-human woman whose strength and passion propelled her into the center of grand events. Meticulously-researched, this engrossing novel offers a fresh portrait of a queen who has too often been portrayed as a villain. Bravo Mr. Gortner!
Related Quotes
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.
There is something a little vulgar about writing a novel that is too close to the present, too concerned with current events, too eager to critique technological advancements.
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.
A good novel cannot be too long or a bad novel too short.
In general, I think every novel is a political novel, in that every novel is an argument about how the world works, who has power, who has a voice, what we should care about. But political novels can be boringly polemical if they end up being too black and white, too one dimensional, like war is bad, killing people is wrong.
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.
Every once in awhile you find a novel so magical that there is no escaping its spell. The Night Circus is one of these rarities - engrossing, beautifully written and utterly enchanting. If you choose to read just one novel this year, this is it
I knew I wanted the parties in 'The Queen of the Night' to be convincing, beautiful, and also dramatic: situations where significant things happened on a scale that was both grand and intimate. There were several texts that helped me think about how to do this, and one of the most important ones was Charlotte Bronte's novel 'Villette.'
English writing tends to fall into two categories - the big, baggy epic novel or the fairly controlled, tidy novel. For a long time, I was a fan of the big, baggy novel, but there's definitely an advantage to having a little bit more control.
Is your queen what you are searching for in a woman, Froi?" "I never imagined I was looking for something in a woman. But if I did, I'd have to judge her by the way I felt laying beside her before I went to sleep at night and how I felt in the morning waking up to her." "Oh, too profound, my friend. Much too profound.
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
I struggle with confidence, every time. I’m never completely sure I can write another book. Maybe my scope is too grand, my questions too hard, surely readers won’t want to follow me here. A novel is like a cathedral, it knocks you down to size when you enter into it.
It is clear that a novel cannot be too bad to be worth publishing. . . . It certainly is possible for a novel to be too good to be worth publishing.
I don't cry too often reading books, but I did reading Francisco Goldman's autobiographical novel, 'Say Her Name.'
The novel that an author writes is often not the novel that the reader reads, and most of the 'messages' in a novel are put there by the reader. There's nothing wrong with that, of course. That's how literature functions.
The disappointing second novel is measured against the brilliant first novel - often no novel lives up to the first. Literary improvement seems like an unfair expectation.
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