Top 1200 Modern Novel Quotes & Sayings - Page 2

I'm always fighting either to have a house work with us or to head a house. It's a lifestyle I can totally see: the future, modern Versailles, modern Versace, modern Calabasas, paparazzi, celebrity language. I just want to build a collection that's around me and my wife and my kids.

I'm skeptical that the novel will be "re­invented." If you start thinking about a medical textbook or something, then, yes, I think that's ripe for reinvention. You can imagine animations of a beating heart. But I think the novel will thrive in its current form. That doesn't mean that there won't be new narrative inventions as well. But I don't think they'll displace the novel.

I'm not a twentieth-century novelist, I'm not modern, and certainly not postmodern. I follow the form of the nineteenth-century novel; that was the century that produced the models of the form. I'm old-fashioned, a storyteller. I'm not an analyst, and I'm not an intellectual.

I'd never written a novel before, and I wrote a novel, and that turned out OK.

In '94, I started writing a novel about an enormous terrorist act that destroyed the United States. The novel takes place twenty years after this destruction, with all the stuff that we're dealing with now - a dirty war, the disappeared, the concept of terrorism. Anyway, 9/11 happened some years into the process, and I was like, OK, I don't have a novel.

I'm always trying to make something that is impossible to film. Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.

I cringe when critics say I'm a master of the popular novel. What's an unpopular novel?

The complaint about modern steel furniture, modern glass houses, modern red bars and modern streamlined trains and cars is that all these objets modernize, while adequate and amusing in themselves, tend to make the people who use them look dated. It is an honest criticism. The human race has done nothing much about changing its own appearance to conform to the form and texture of its appurtenances.

A novel that does not uncover a hitherto unknown segment of existence is immoral. Knowledge is the novel's only morality.

The story and the poem are obviously changed by being placed in the novel, so in a sense they're no longer the works that preceded the novel.

A novel is not a play. A novel takes one reader at a time into its confidence. It can be shockingly personal. Private, even.

I'm really interested in modern history, but to fulfill a History degree at Brown you have to do modern and pre-modern.

The contemporary crime novel is, at its best, a novel of character. That's where the suspense comes from.

I've never discovered the idea for my next novel while I was still working on the current novel. Other writers don't suffer this.

I never know when I finish the novel I am writing which will be the next novel out of the station.

There is not now, nor I suspect will there ever be, a le Carre novel with ninjas in it. Most serious novelists are wary of including ninjas in their writing. That's a shame, because many much-admired works of modern fiction could benefit from a few.

I much prefer a plotted novel to a novel that is really conceptual.

A novel, especially a first novel, is... really an emotional autobiography. All these emotions I'm embarrassed at having had, I've written about.

I'm obsessed with the Victorian novel. I can't help it. I feel like the novel then was so powerful and agile in ways I'm not sure it is now.

Another reason I think the novel will survive is that the reader has to work in a novel. In a film, you are presented with someone else's imagination exactly bodied out. The marvelous thing about a novel is that every reader will imagine even the very simplest sentence slightly differently.

Writing a graphic novel is hard. It feels closer to a screen play than to a novel.

When people write a novel, they want to have that reach and that impact. To get it with a first novel, you can either see it as an albatross or a calling card.

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.

People have been saying the novel is dead for as far back as I can remember. The novel will never die, but it will keep changing and evolving and taking different shapes. Storytelling, which is the basis of the novel, has always existed and always will.

The master of ceremonies asked people to say what they thought the function of the novel might be in modern society, and one critic said, “To provide touches of color in rooms with all-white walls.” Another one said, “To describe blow-jobs artistically.

Only one novel is a novel: that is a successful novel.

I love Richard Yates, his work, and the novel, Revolutionary Road. It's a devastating novel.

Folk-lore means that the soul is sane, but that the universe is wild and full of marvels. Realism means that the world is dull and full of routine, but that the soul is sick and screaming. The problem of the fairy tale is: what will a healthy man do with a fantastic world? The problems of the modern novel is: what will a madman do with a dull world? In the fairy tales the cosmos goes mad; but the hero does not go mad. In the modern novels the hero is mad before the book begins, and suffers from the harsh steadiness and cruel sanity of the cosmos.

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 novel is the affliction for which only the novel is the cure.

At the emergence of the modern novel with Rabelais and Cervantes, all kinds of things were possible in a long-form prose work. Within a couple of hundred years, most of those possibilities were abandoned in favor of a text that efficiently transmitted sentiments.

No writer, I believe, should attempt a novel before he is thirty, and not then unless he has been hopelessly and helplessly involved in life. For the writer who goes out to find material for a novel, as a fishermen goes out to sea to fish, will certainly not write a good novel. Life has to be lived thoughtlessly, unconsciously, at full tilt and for no purpose except its own sake before it becomes, eventually, good material for a novel.

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.

I went to an all-girls Catholic high school. The three things that they focused on were reading, writing, and arithmetic. My goodness, this is a novel idea in this modern society. I was really good at all three of these things. I was particularly good at math.

Writing a novel is not at all like riding a bike. Writing a novel is like having to redesign a bike, based on laws of physics that you don't understand, in a new universe. So having written one novel does nothing for you when you have to write the second one.

I can have people around a lot more because I'm not always chasing them away so I can work on my novel. My non-novel, I mean.

'The Fourth Hand' was a novel that came from twenty years of screenwriting concurrently with whatever novel I'm writing.

There is no denying that we are suffering from a collective neurosis and the novel which does not face this is not a novel of our time.

Joaquin Jackson's frank and colorful account of his long career as a modern-day Texas Ranger thrills like an action novel, yet the stories are true, sometimes funny, sometimes tragic, but always gripping. I could hardly put the book down. . . .The writing is superb.

I wrote my first novel and my second novel in Chicago. It was the place where I became a writer. It's my favorite city.

If only a group of people were more important to me than the idea of a Novel, I might begin a novel.

Voltaire's novel [Candid] offers us parallel universes, the possibility of entering into alternative worlds existing side by side, and this is something quite modern. Nested narratives and parallel universes are popular at the moment in many different art forms.

'The Dovekeepers' is a fantastic novel written by Alice Hoffman; it was a bestselling novel, and I fell in love with the book and bought the rights to it.

The first modern novel was already a product, even an expression, of negative criticism: 'Don Quixote' contains a quite explicit critique of the chivalric romance and its insufficiency to account for the way real life feels when you get up in the morning in 17th-century Spain.

I was captivated by Sherrie Flick's meticulous and intelligent study of Margaret and Vivette, and the men they share. Reconsidering Happiness is a courageously intimate novel about the young women of modern America, their friendships, their betrayals, and their anxious cravings for everything from sex to pastry.

The Watch is a powerful tale, courageous both in concept and creation: an ancient tale made modern, passed through different narrators in extraordinary shape-shifting prose that makes this not just an important novel, but a remarkable read.

The novel's not organized like a screenplay. If you shot the novel, you'd have a twelve-hour movie.

Well, people have been wondering what's going to happen to the novel for two hundred years; its death has been announced many times. You know, I think the novel keeps redefining the world we live in. What you should look for in a novel is a window nobody else is looking out of, that nobody else can look through. What you look for is a voice. You pick up a novel by someone such as Faulkner or Hemingway and you just read three pages and you know who wrote it. And that's what one should demand of a novelist.

I tend to see my characters from inside and outside at once; this is a technique I use to retain a slight distance. It means my characters can act in unexpected ways on two axes: physical and mental. It isn't just, 'I thought this and then I did this,' which is the technique of the modern psychological novel.

It's very hard to be a practicing Christian in the 21st-century world if you set things up as, 'Everyone is against us. You can't believe modern science, modern media or modern political institutions because they're all conspiring against Christians.'

Although we might think of Holmes as the Ur-sleuth, the seminal inspiration for many writers comes not from the chronicles of Baker Street but from the intricately plotted novels of Charles Dickens and his colleague Wilkie Collins, who in works like 'Bleak House' and 'The Moonstone' established the modern, character-driven mystery novel.

The difficulty of writing a second novel is directly proportional to how successful the first novel was, it seems.

The desire to write a novel is the single required prerequisite for writing a novel.

When you objectively observe the most spiritual area to which modern people devote themselves, the religions, ask yourself if the basis of modern culture, particularly in religion, is not human self-interest. It is typical of modern sermons that the preacher criticizes people for their selfishness.

I don't see the direct correlation between my personal life and the novel I'm writing until I'm at the end of the novel or very close to it.

A novel is utterly your own creation, a very private process. I think of a novel as a noun and a screenplay as a verb. In a novel, very little needs to happen; you can explore a person's memories and thoughts and fantasies. In a screenplay, it's all action; you must push the story on.

We have a thriving subculture of 'independent' American movies that makes an impact on America as a whole roughly equivalent to that of a the modern literary novel. These are the films sincere viewers marry, whereas, once upon a time, movies were a lifetime of one night stands.

In this astonishing novel Amirrezvani reminds us what all human hearts suffer and dare. Equal of the Sun is an irresistible novel.

The well-known inspiration for 'Ulysses' is made clear by the title itself: Joyce's novel is based on Homer's 'Odyssey', under the ever-fascinating premise that all of Odysseus' extraordinary adventures can be experienced by a modern man in a single day, provided that the writing consists of his mental activity.

The past is discredited because it is not modern. Not to be modern is the great sin. So, perhaps, it is. But every one has, in his day, been modern. And surely even modernity is a poor thing beside immortality. Since we must all die, is it not perhaps better to be a dead lion than a living dog?