A Quote by Zadie Smith

I'm never interested in writing a kind of neutral, universal novel that could be set anywhere. To me, the novel is a local thing. — © Zadie Smith
I'm never interested in writing a kind of neutral, universal novel that could be set anywhere. To me, the novel is a local thing.
I'm always interested in the way people speak and move in their environment, in a very particular environment. I'm never interested in writing a kind of neutral, universal novel that could be set anywhere. To me, the any novel is a local thing always.
The philosophy of individualism owes a great deal to the tradition of novel-writing and novel-reading. In its development and in its aesthetics, the novel is not politically neutral; it has been a participant in history all along.
I have a slightly contrarian streak as a writer, and one of the things I was interested in was how distilled could I make a life, and how I could cross what is kind of trivialized as a domestic novel with a novel of ideas, a philosophical novel.
If I had a plot that was all set in advance, why would I want go through the agony of writing the novel? A novel is a kind of exploration and discovery, for me at any rate.
The novel ceases to be looked at as a novel. Such is the overwhelming power of motion pictures. Gore Vidal pointed out that the movies are the only thing anybody's really interested in. The association with movies and movie money can, and certainly did in my case, occlude a novel as a novel.
I had never thought about writing a novel. But I had two young kids, and I realized that if I could write a novel, I could work at home.
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.
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.
I have a process that I seem to always, to some degree, as a writer, adhere to, but I certainly have never imposed the way I write a novel on my students. When I had students, I never said, "You should never start writing a novel until you have the last sentence." I never did that, and I wouldn't do it now, but people now seem so interested in the process [of writing fiction] that I have to constantly make it clear when I describe mine that I'm not being prescriptive. I'm not proselytizing.
The process of writing a novel is getting to know more about the novel until you know everything about it. And it's been described as a kind of dreamlike state where you're letting the novel make its own shape, and you're putting into it the pleasure of creation, which is intoxicating.
When I complete a novel I set it aside, and begin work on short stories, and eventually another long work. When I complete that novel I return to the earlier novel and rewrite much of it. In the meantime the second novel lies in a desk drawer.
I read all of the nonfiction that I could find on Chechnya, and all the while, I was searching for a novel that was set there. I couldn't find a single novel written in English that was set in the period of the two most recent Chechen wars.
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.
If I'm writing a novel, I'll probably get up in the morning, do email, perhaps blog, deal with emergencies, and then be off novel-writing around 1.00pm and stop around 6.00pm. And I'll be writing in longhand, a safe distance from my computer. If I'm not writing a novel, there is no schedule, and scripts and introductions and whatnot can find themselves being written at any time and on anything.
Writing the novel felt so private to me! I think publishing a novel is quite public and exposing, and what's a little frightening to me right now is the fact that it feels so entirely opposed to the privacy that is writing.
I think Melbourne is by far and away the most interesting place in Australia, and I thought if I ever wrote a novel or crime novel of any kind, I had to set it here.
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