Top 1200 Fantasy Novels Quotes & Sayings - Page 5

One of the things that I love about writing novels is that it really doesn't matter what next step you take as long as you're pursuing some intuition or instinct. Of course, then, intuitions or instincts don't make for great novels, but they often make for good first drafts.

For the last 30 years our cinemas have been ruled by science fiction and horror. We've had some very good Fantasy films in that time period, but for my tastes I still haven't seen fantasy done to absolute perfection. That is the hope I have in this project.

I never got any training in how to write novels as an English major at Oberlin, but I got some great training for writing novels from anthropology and from Margaret Mead.

The way I write things, I just write them with a clash between reality and fantasy mostly. You have to use fantasy to show different sides of reality; it's how it can bend.

Better the hard truth, I say, than the comforting fantasy. And in the final tolling it often turns out that the facts are more comforting than the fantasy.

I started to write my own stories, like small novels, and those novels became poems, and after poems, they became lyrics, and song came from that.

I am delighted if people find that kind of sustenance in novels, but perhaps it's because they don't read the Scripture that they are comparing it to, which would perhaps provide deeper sustenance than many contemporary novels.

If you go too far in fantasy and break the string of logic, and become nonsensical, someone will surely remind you of your dereliction....Pound for pound, fantasy makes a tougher opponent for the creative person.

Novels are usually built on conflict, sometimes very, very difficult conflict. It's why men write war novels - because there you go, there's the conflict writ large.

Art as a fantasy has been one of my earliest experiences. I suppose a lot of my childhood was a fantasy that involved getting away from things I didn't like. Fortunately it had some relationship to reality so that later I was able to, to some extent, act as I imagined I might.

I entered a poem in a poetry contest around 1987, and the poem won and I received $1,000 for it. That made me realize that maybe what I was writing was worth reading to people. After that, for some reason, I turned to novels and I've written mainly novels ever since.

I know what was happening to me during the 2012 London Olympics. I was in a fantasy world. You look this side, Usain Bolt is walking, Serena Williams is sitting next to you and having food. So that is really a fantasy world for a youngster.

What is appealing is the idea of attaining the unattainable and learning from it. Once you obtain a fantasy it becomes a reality, and that reality is not as exciting as your fantasy. Through the fantasies you learn to appreciate your own realities.

Fantasy for me as a kid was real, and I had a fantasy about what life was, whether it was sort of wicked and dire, or wholly normal, or whatever. Anything really close to home is not, it seems to me, what a good book should be about.

What I'm working on now - I'm back to fantasy, although considering that it's me, I'm turning it into a kind of science fantasy. It's a vampire story - but my vampires are biological vampires. They didn't become vampires because someone bit them; they were born that way.

If nothing is more important to you than that you feel good, you can form a fantasy about someone who is in your life and they will begin to modify to meet your fantasy, because Law of Attraction is a very powerful thing.

I've always loved fantasy books. Even just growing up, I've always kind of loved magic and fantasy.

So let's not get frightened when the children read fantasy. It's the compost for a healthy mind. It stimulate s the inquisitive nodes, and there is some evidence that a rich internal fantasy life is as good and necessary for a child as healthy soil is for a plant, for much the same reasons.

The difference between graphic novels and web comics is even greater than graphic novels and story boarding. Web comics really is a legitimately separate genre.

I wrote my first two long novels and an anthology of short narratives, when I was a manager of my own jazz bar. There was not enough time to write and I didn't know how to write novels. Therefore, I made written collages of aphorisms and rags.

The thinking person has the strange characteristic to like to create a fantasy in the place of the unsolved problem, a fantasy that stays with the person even when the problem has been solved and truth made its appearance.

I played one year of fantasy football in high school. You really get into it. It makes more fans of the NFL, and people love talking about it. They'll come up to me and say, 'Why did you throw an interception? You ruined my fantasy team!' Or they're happy because they got you for a bargain.

You're making a fantasy. You're making something real out of a fantasy. And then it no longer exists. It's heartbreaking to leave behind. I was devastated after Waiting for Guffman. I had never gotten so close to people I've worked with.

The mystery form was very helpful for me as a beginning writer because mystery novels and suspense novels have a beginning, a middle and an end.

I certainly think we're going to see more and more graphic novels and more illustrated novels.

Growing up devouring horror comics and novels, and being inspired to become a writer because of horror novels, movies, and comic books, I always knew I was going to write a horror novel.

Fantasy is escapism, but wait... Why is this wrong? What are you escaping from, and where are you escaping to? Is the story opening windows or slamming doors? The British author G.K. Chesterton summarized the role of fantasy very well. He said its purpose was to take the everyday, commonplace world and lift it up and turn it around and show it to us from a different perspective, so that once again we see it for the first time and realize how marvelous it is. Fantasy - the ability to envisage the world in many different ways - is one of the skills that make us human.

I've always been charmed by houses, and descriptions of them are prominent in my novels. So prominent, in fact, that my editor once pointed out to me that all of my early novels had houses on the covers.

The writer I feel the most affinity with - you said you felt my books are 19th century novels, I think they're 18th century novels - is Fielding, Henry Fielding, he's the guy who does it for me.

To me, a purely good individual or purely bad individual, that's a comic book - that's a fantasy - and I don't do fantasy.

We've had science fiction novels where China is dominant; we've had novels where India is dominant, and I suppose it's all about getting away from that cliched old tired idea that the future belongs to the West.

To suggest that organic vegetables, which cost far more than conventional produce, can feed billions of people in parts of the world without roads or proper irrigation may be a fantasy based on the finest intentions. But it is a cruel fantasy nonetheless.

Everybody has their own America, and then they have pieces of a fantasy America that they think is out there but they can't see. So the fantasy corners of America seem so atmospheric because you 've pieced them together from scenes in movies and music and lines from books.

Novels function and the power of novels function because of their stories.

I started out with this 'La Boheme' fantasy, but as you get older, the 'La Boheme' fantasy becomes less sexy, believe me.

If you read novels of the 19th century, they're pretty experimental. They take lots of chances; they seem to break a lot of rules. You've got omniscient narrators lecturing at times to the reader in first person. If you go back to the earliest novels, this is happening to a wild extent, like 'Tristram Shandy' or 'Don Quixote'.

As far as benefits to reading historical novels, there are several! For one thing, you learn about life in another era. Secondly, these novels help us to develop a deeper understanding of the legacy of women who came before us and the strides made by our ancestors.

Some of these love stories can be destructive as examples of what it means to really love. To think that someone is your one and only, that you're fated to be with this person, is a really powerful, sexy fantasy - but it is a fantasy, at least in part.

As for genre, my adult books are usually filed under science fiction / fantasy, although some stores put them into romance, and few have stuck them into horror. I consider all my books a mix of steampunk and urban fantasy.

I am, of comics I was never as big of a fan as I probably could have been I suppose but I'm definitely a fan of science fiction fantasy. My interests were in fantasy more than comics growing up.

I've read fantasy my whole life. Quite literally; my mom read me The Hobbit before I could read stuff to myself. So I love fantasy; that's what I read for fun, it's what I read professionally to keep abreast of what's in the genre - it's where my heart is.

The difference between science fiction and fantasy … is simply this: science fiction has rivets and fantasy has trees.

my crime books are actually novels and are written as such. One might even say that each one is really two novels, one of which is the story I tell the reader, and the other the buried story I know and let slip now and then into a clue to whet the reader's interest.

My novels tend to take a long time to become exactly what they're going to be. They're fluid messes until I've done a ton of editing and refining and rewriting. When I write novels, I always make related scrapbooks to help me organize and test my intentions.

The Neapolitan novels have a lot of references to things outside, to things of the world, to culture, politics, the city of Naples. People have mentioned that Naples is like a character in the novels.

I think 'World of Warcraft' shows that people today still like a good fantasy hack and slash game. I always thought that a lot of computer fantasy games leapt into complex party-based play somewhat prematurely.

It's hard if you start believing that you should be really that perfect fantasy ideal, that people start believing because of all of the retouching. You can delve into that fantasy world and play with it, but when you walk away, that's not you.

When we work with history, to a very great degree we are all guessing. But by using motifs of time and history in a fantasy setting, we are acknowledging that this educated guesswork, invention, fantasy underlie our treatment of the past and its peoples - and we are not claiming a right to do with them as we will.

I'm a huge sci-fi/fantasy/horror guy. I love anything in the sci-fi or fantasy genre.

Society is the stage on which manners are shown; novels are the literature. Novels are the journal or record of manners; and the new importance of these books derives from the fact, that the novelist begins to penetrate the surface, and treat this part of life more worthily.

I realize that, to many readers, Hard Fantasy may seem to be a contradiction in terms. Fantasy, according to most generally recognized definitions, differs from both 'real world' fiction and 'science fiction' in that magic or magical creatures are active elements.

Fantasy is a genre that allows me to create anything I want. That, in turn, allows me to explore any sort of idea I'm curious about. I love it because Fantasy is a genre that asks, "What if...?" That's my favorite question.

That's a really good question - what is it like living with a writer? I guess it depends on the writer. You know what? They live in a fantasy world a lot of the time. My husband lives in a fantasy world.

I'm not reading any novels right now, though not for lack of trying. Unless they're really good, my attention in most novels tends to sputter out after a hundred pages or so - an awful admission for someone who is trying to write one, but it's true.

I like going back in time and writing historical fantasy. I use some real historical characters as a background to give depth to the fantasy. And I throw my fictional characters into the midst of this, and, so far, it has turned out interesting.

I get a lot of moral guidance from reading novels, so I guess I expect my novels to offer some moral guidance, but they're not blueprints for action, ever.

I am trying to write novels for properly clever people, but I also want them to be proper novels that also stick in a person's mind and have an atmosphere about them.

It does seem that a fantasy, working out in its own terms, stretching you beyond the normal concerns of your own life, gains you a peculiar charge of energy which inexplicably enriches you. At least, this is my ideal of a fantasy, and I am always trying to write it.

In my perfect world, we'd have one black girl fantasy book every month. We need them, and we need fantasy stories about black boys as well.

The way I felt growing up, which was like an outcast - I was weird, I was a nerd, I read fantasy books - I think a lot of fantasy book readers and a lot of readers and writers in general have that experience of isolation.