A Quote by Tawni O'Dell
I'm a novelist, and I'm a woman, and I'm considered to be a serious author whether I like it or not.
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With the marketing pressures driving the book world today, it's much easier to get the author of a memoir on a television show than a serious novelist.
I want to be a popular novelist who's also serious, or a serious novelist who's also very accessible.
More than anything I am a novelist. But for me, an author's job is not only to create linguistically accomplished works. As an author I also want to stimulate discussion.
Whether you're an unpublished novelist or a sixteen-time New York Times bestselling author, you can always improve your craft. You can always become a better writer.
I had, like any other young novelist, started out by believing the difficult thing was to get published and that, once you managed that, well, your financial problems were over. I discovered, like any other serious novelist, that actually they had only just begun.
Whether the author intended a symbolic resonance to exist in her book is irrelevant. All that matters is whether it's there. Because the book does not exist for the benefit of the author, the book exists for the benefit of YOU. If we as readers can have a bigger and richer experience with the world as a result of reading a symbol and that symbol wasn't intended by the author, WE STILL WIN.
I've always considered myself a serious guitar player, but I haven't been really worried about whether the public thought I was. That never was part of my record sales strategy.
Someone from the Internet Writing Workshop sent me a link to the Gender Genie, where you paste in a section of text and it uses an algorithm to detect whether the author is male or female. Or, if you're an author, you can tell whether you're really nailing your opposite-sex characters. I mean, nailing their dialog.
Whoever commits to paper what he suffers becomes a melancholy author: but he becomes a serious author when he tells us what he suffered and why he now reposes in joy.
The novelist is frequently considered to be an impediment.
A woman I should like to think I know rather well and a woman I had always considered a mystery, are in fact the same person.
The seriousness or otherwise of the subject matter is often irrelevent to the question of whether a book is any good. F Scott Fitzgerald wrote a great and beautiful novel which mainly involved shallow people going to parties in a rich guy's house. By contrast, all sorts of terrible books are published every month about men slaughtering people for no reason - a serious matter which, in itself, does not make the author worthy of serious consideration.
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.
To ask an author who hopes to be a serious writer if his work is autobiographical is like asking a spider where he buys his thread. The spider gets his thread right out of his own guts, and that is where the author gets his writing.
Biblically defined marriage is a man and a woman for life, and so anything different than that is not God's ideal whether it be polygamy, whether it be divorce, whether it be a marriage between a man and a man or a woman and a woman. The ideal would be a man and a woman under a covenant of God's blessing.
I like to think of myself as an unmediated novelist - or perhaps a national novelist.
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