A Quote by S. S. Van Dine
A detective novel should contain no long descriptive passages, no literary dallying with side-issues, no subtly worked-out character analyses, no 'atmospheric' preoccupations. Such matters have no vital place in a record of crime and deduction. They hold up the action and introduce issues irrelevant to the main purpose, which is to state a problem, analyze it, and bring it to a successful conclusion. To be sure, there must be a sufficient descriptiveness and character delineation to give the novel verisimilitude.
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Your opening should give the reader a person to focus on. In a short story, this person should turn up almost immediately; he should be integral to the story's main action; he should be an individual, not just a type. In a novel, the main character may take longer to appear: Anna Karenina doesn't show up in her own novel until chapter eighteen.
Something that you should take particular notice of is the fact that the best scripts have very few explanatory passages. Adding explanation to the descriptive passages of a screenplay is the most dangerous trap you can fall into. It’s easy to explain the psychological state of a character at a particular moment, but it’s very difficult to describe it through the delicate nuances of action and dialogue. Yet it is not impossible.
The biographical novel sets out to document this truth, for character is plot, character development is action, and character fulfillment is resolution.
I've no objection to the term 'graphic novel,' as long as what it is talking about is actually some sort of graphic work that could conceivably be described as a novel. My main objection to the term is that usually it means a collection of six issues of Spider-Man, or something that does not have the structure or any of the qualities of a novel, but is perhaps roughly the same size.
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.
The contemporary crime novel is, at its best, a novel of character. That's where the suspense comes from.
I believe a good memoir should have all of the narrative elements of a novel: character development, dialogue, descriptive language, and metaphor.
I have no favourite genre or style but treat each novel with the same care, imagination and craftsmanship. It's as difficult to write a crime or a children's novel with a touch of style and grace as it is a literary novel.
I've always been a fan of the 19th century novel, of the novel that is plotted, character-driven, and where the passage of time is almost as central to the novel as a major minor character, the passage of time and its effect on the characters in the story.
Put simply the novel stands between us and the hardening concept of statistical man. There is no other medium in which we can live for so long and so intimately with a character. That is the service a novel renders.
There is a document in every novel in the world. Even in the most fantastic novel, even in science fiction, there is a documentary side. But, this side is not the crux of the matter. I don't think a novel's main donation, main gift, is the document. The document is there, but a novel goes beyond documentation. It goes into opening a new vista, opening a new perspective, showing familiar things in an unfamiliar way.
The English tradition offers the great tapestry novel, where you have the emotional aspect of a detective's personal life, the circumstances of the crime and, most important, the atmosphere of the English countryside that functions as another character.
Imagine a world in which no writer has written a literary novel in sixty years. Imagine a place where not a single person has read a book that is truly about the character at its center.
What must novel dialogue . . . really be and do? It must be pointed, intentional, relevant. It must crystallize situation. It must express character. It must advance plot. During dialogue, the characters confront one another. The confrontation is in itself an occasion. Each one of these occasions, throughout the novel, is unique.
Mysteries include so many things: the noir novel, espionage novel, private eye novels, thrillers, police procedurals. But the pure detective story is where there's a detective and a criminal who's committed a murder and leaves clues for the detective and the careful reader to find.
I never think about issues when I'm working on a novel. Issues are things that happen to people in sufficient numbers to elicit widespread attention; in other words, they're just life happening. That's what I think about: life, and telling a story.
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