A Quote by Adrian McKinty
'The Man in the High Castle' was not the first alternative history novel, nor even the first Nazis-win-the-war novel, but it is still probably the most influential book in the genre.
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'The Man in the High Castle' is still the best what-if-the-Axis-had-won novel.
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.
It may be the first in what I trust will be a rapidly growing and influential genre--the novel designed on purpose to be excludedfrom the Booker short-list.
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.
I have never started a novel - I mean except the first, when I was starting a novel just to start a novel - I've never written one without rereading Victory. It opens up the possibilities of a novel. It makes it seem worth doing.
If I'm a genre writer, I'm at the edge. In the end, they do work like genre fiction. You have a hero, there's a love interest, there's always a chase, there's fighting of some kind. You don't have to do that in a novel. But you do in a genre novel.
I was heavily influenced by my first attempt at a novel. I started a fantasy novel back in high school, and... well... it really sucked. It was a plotless, clichéd mess.
The book that made a lasting impression was the one my mother gave each of us when she decided we were ready for our first "adult novel," Lucy Maud Montgomery's The Blue Castle.
The book that made a lasting impression was the one my mother gave each of us when she decided we were ready for our first 'adult novel,' Lucy Maud Montgomery's 'The Blue Castle.'
I finished my first novel - it was around 300 pages long - when I was 16. Wrote one more before I got out of high school, then wrote the first Lincoln Perry novel when I was 19. It didn't sell, but I liked the character and I knew the world so I tried what was, in my mind, a sequel. Wrote that when I was 20, and that one made it.
Just about everybody has written a first novel that they throw away before writing their actual first novel.
The novel since its origins has been the privatization of history... the history of private life ... and in that sense every novel is an historical novel.
I first heard the term "meta-novel" at a writer's conference in Tulsa, Oklahoma. The idea is that even though each book in a series stands alone, when read collectively they form one big ongoing novel about the main character. Each book represents its own arc: in book one of the series we meet the character and establish a meta-goal that will carry him through further books, in book two that meta-goal is tested, in book three - you get the picture.
The Chicago Way is a wonderful first novel. Michael Harvey has studied the masters and put his own unique touch on the crime novel. This book harkens the arrival of a major new voice.
I remember being interviewed about my first novel, 'The Colour of Memory.' They kept using the expression 'your first novel,' and I said, 'No, I object to that phrase, because this is it for me.'
It's more like I write multiple first drafts, handwritten. So with my first novel, I wrote whole drafts from different points of view. There are different versions of that novel in a drawer on loose-leaf sheets. I won't even look at the first draft while I'm writing the second, and I won't look at the second before writing the third.
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