Top 1200 Novel Writing Quotes & Sayings - Page 15

I was fortunate that Yale has a very open and creative law school. I took many courses outside the law school, and every semester, the students had a literature reading group. I was asked to lead one on 'Dante and the Concept of Justice,' and it was around that time that I began writing the novel.

A little more than a hundred years ago, "Tel Aviv" was not a city. It was a title of a novel written by an author. The "Return to Zion" was a name of another novel. There was a bookshelf. There was no country. There was no state. There was no nation. There was no physical Jewish reality in this country.

I can get really obsessive. I like writing many drafts, and I try not to because it is very time-consuming, especially when you're working on a novel. But I do like to take a story and reorder it, put things in different places. This allows me to see things in a new and sometimes surprising way.

I started a novel back in high school. It wasn't very good. It was the opposite of good. The writing itself wasn't too bad, and the characters were interesting. But the story was a mess, and it was full of fantasy cliches. Dwarf with an axe. Barbarian warrior. I don't ever think I'd bother finishing that. It's just not worth my time.

I don't think I knew that you could be a novelist. I think a lot of my students are in the same condition. I thought it was unreachable, that it was sort of dead people. It took me a long time - I think I was well into novel writing before I really thought, 'Actually, this is a valid pastime.'

I feel like I've got a novel in me somewhere, but that's something... I was just talking to a buddy of mine about it, who's a writer as well, and he's nearly done with his first novel, and it's taken him 11, 12 years to do it. And I can totally understand; it's a long process.

For me, writing a historical novel was really hard. I love history as a subject and majored in it in college. I think, in a way, my training made it worse for me because I knew how important it was to focus on document-based analysis, and I really didn't want to get stuff wrong.

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.

There is so much about the process of writing that is mysterious to me, but this one thing I've found to be true: writing begets writing.

As long as the reader is enjoying a story and the writing, it doesn't concern me if people don't understand why it's running backward or if it's running backward. I think disorientating a reader a bit can be really nice. Making them work and bringing their own past to play in a novel.

I think that writers are best served by sticking to their writing. Not having loads of theories about the best way to position the writing. I think that if the writing is good and the point of view is strong, the writing is going to take care of itself.

The essential gesture of the contemporary novel is to get people to turn the page, to entertain them, and I hate that. I want a novel where the gesture is towards existential investigation on every page. That, to me, is thrilling.

Listening to people discussing a novel can be very interesting, if you've read whatever novel is being discussed. No one, it seems, ever says, "This is a great book but I didn't like it." Taking a little time to think about why this might be has been very liberating.

I always tell audiences when I talk about writing: Writing isn't something I do; writing is something that I am. I am writing - it's just an expression of me.

People think that writing is writing, but actually writing is editing. Otherwise, you're just taking notes

A novel is what you dream in your night sleep. A novel is not waking thoughts although it is written and thought with waking thoughts.

If you have to find devices to coax yourself to stay focused on writing, perhaps you should not be writing what you're writing. And if this lack of motivation is a constant problem, perhaps writing is not your forte. I mean, what is the problem? If writing bores you, that is pretty fatal. If that is not the case, but you find that it is hard going and it just doesn't flow, well, what did you expect? It is work; art is work.

I guess one of the most magnificent things a novel can do is to change your perspective on the world, and to give it some sense of wonder, and that's what I find so exciting in writing fantasy, especially fantasy for children. Because already, I think children have a very special and unusual way of seeing the world.

The novel may stimulate you to think. It may satisfy your aesthetic sense. It may arouse your moral emotions. But if it does not entertain you it is a bad novel.

I love to read and teach experimental fiction but yes, neither this work nor my first novel is really that experimental. It uses some experimental techniques but in the end, I would not say that it is experimental. I'm not sure why. I do a lot of writing on my own, and I have always just written this way.

The benefit of writing a collection - as opposed to a novel - is that I'm able to have some version of the war in each story without having to comment on its all-encompassing nature. Turn the page and here are new characters and new situations, but the war remains... Isn't that how life has been for us for over a decade?

I'm trying to keep it fresh for me. I'm just trying to not bore myself. And if I can do a detective novel, and if I can do a horror novel, then why do it again? To keep the work challenging I have to keep moving.

Characters to me are like sonnets, they have limits that you obey which allow a force to enter in, an invention that makes the novel possible. Change the limits and the force leaves. The novel becomes impossible.

I have a hard time writing. Most writers have a hard time writing. I have a harder time than most because I'm lazier than most. [...] The other problem I have is fear of writing. The act of writing puts you in confrontation with yourself, which is why I think writers assiduously avoid writing. [...] Not writing is more of a psychological problem than a writing problem. All the time I'm not writing I feel like a criminal. [...] It's horrible to feel felonious every second of the day. Especially when it goes on for years. It's much more relaxing actually to work.

'Emma' is my favorite Jane Austen novel - one of my favorite novels period; a novel about intelligence outsmarting itself, about a complicated, nuanced, irresistible heroine who does everything wrong.

I went abroad to Malaya and came back and tended naturally to gravitate towards the south, I suppose, near London where things seemed to be going on; but I'm still a Lancashire man, and what I want to write someday is a novel about Manchester. Very much a regional novel.

When Im writing a novel, which is what I like to write, I get up early, sit zazen, make a pot of green tea. I wear wrist cuffs to keep my wrists warm and minimize irritation from extended contact with the surface of my desk. I sit down and write.

You come out of your MFA program with a cogent clutch of stories, trying to get an agent interested, and she or he admits these are quality, sure, but this agent actually needs something the publisher can make money on. So you get kind of bullied by the market into writing a novel.

Beginning in the 1920s and 1930s, film has been a shadow thrown over the minds of all novelists. Ever since, novelists have strained to make themselves more relevant and, whether consciously or not, novel-writing has been influenced by cinematic doctrines - by turns, embracing and defying it.

Writing, for me, when I'm writing in the first-person, is like a form of acting. So as I'm writing, the character or self I'm writing about and my whole self - when I began the book - become entwined. It's soon hard to tell them apart. The voice I'm trying to explore directs my own perceptions and thoughts.

Good writing is clear. Talented writing is energetic. Good writing avoids errors. Talented writing makes things happen in the reader's mind - -vividly, forcefully.

From the beginning [of the Lincoln in the Bardo], I actually had it in mind not to write a novel. I'd kind of gotten past that point where I felt bad for never having written a novel, even to where I felt really good about it, like I was a real purist.

I would like to one day write a nice big novel and enjoy writing it and people enjoy reading it but I cannae be bothered or I don't have any ideas that would fill up a big book like that.

I grew up in a working-class Catholic family in south Louisiana. I went to a state university. I taught literature, wrote a novel that was the novel I wanted to write, and got a couple of good reviews but no real traction. I had no idea how to get a job in TV.

Just as I could tell you about my first Andre Norton novel or my first L'Engle or my first Asimov, I could write a paragraph about how each of these writers influenced me, my writing, and my thoughts, and do to this day.

Film as a medium, like a novel as a medium, possesses a unique ability to communicate. Film is capable of communicating in a way that no other medium can, and I would say the same for the novel.

The writing of a novel or short story or poem or whatever should elevate the audience, not drag the writer down to some level beneath herself. And she - the author - should fight always to prevent that dragging down, especially when the only possible benefit of allowing it to happen is monetary.

I enjoyed writing in school. I don't know that I was all that good at it in school. I worked at it later. I feel comfortable writing now. I enjoy writing now. I suspect, like most college students, I viewed writing then to be more tedious.

It is a singular reaction, this sitting still and writing, writing, writing, or ruminating at length, which is much the same, really.

The novel at its nineteenth-century pinnacle was a Judaized novel: George Eliot and Dickens and Tolstoy were all touched by the Jewish covenant: they wrote of conduct and of the consequences of conduct: they were concerned with a society of will and commandment.

I'm more of a songwriter. I love writing songs. I love writing my songs. It's always been writing for me, and it makes it different when you're writing for yourself.

I have to say that writing about my writing process is more daunting than writing non-fiction.

I am a master of fiction. I am also the greatest crime novelist who ever lived. I am to the crime novel in specific what Tolstoy is to the Russian novel and what Beethoven is to music.

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.

Don't wait for success, but for the respect and interest of those who read you. At the start it could be a classmate, someone who shares your interests. Before sending off the manuscript for a novel to a publishing house, it would be a good idea to try writing short stories, and publishing them in a local magazine.

I don't want my novel to be like Madame Bovary, finely crafted with the life edited out of it. I want my novel to be like a friend telling me a story -- so we go off on thoughts; that's the way it is.

A lot of journalists are talented enough to write a mystery novel, and I would say that most of the top-end mystery writers actually started out as reporters. But there is more to it than just the writing; there's a learning process, and most journalists aren't willing to do it.

When it comes to sermon writing, generally there are two problems. Some preachers love the research stage but hate the writing, and they start writing too late. Others don't like doing research, so they move way too fast to the writing part.

The process of re-writing and writing and re-writing means that you may have a brilliant phrase, but over time it distills and distorts and changes.

When I'm writing a novel, which is what I like to write, I get up early, sit zazen, make a pot of green tea. I wear wrist cuffs to keep my wrists warm and minimize irritation from extended contact with the surface of my desk. I sit down and write.

Writing can come naturally to some. Still, when it comes to good writing, this is true: Easy reading is damn hard writing.

Since I cant write the greatest American novel, Im going to write the longest American novel.

Completing any writing project, particularly a novel, is a daunting prospect. Many people become frozen by the prospect. Others keep waiting for the right time. Some wait for the spark of inspiration. Even experienced writers find it is easier to do anything other than actually write.

Writing for adults and writing for young people is really not that different. As a reporter, I have always tried to write as clearly and simply as possible. I like clean, unadorned writing. So writing for a younger audience was largely an exercise in making my prose even more clear and direct, and in avoiding complicated digressions.

I think 'Gatsby' is hobbled, in part, by its status as a Great American Novel. People kind of roll their eyes before they've even opened it, treat it with a 'been there, done that' attitude. I know I did. It took me years to re-open the novel and see how much I'd missed.

In the summer of 1866, as Leo Tolstoy prepared for his serialized novel 'War and Peace' to be published as a single volume, he wrote to illustrator Mikhail Bashilov, hoping to commission drawings for the new edition of the novel, which he referred to by its original title,1805.

I had just got married when I started writing my fourth novel. I'd come back from honeymoon, moved into our first house - a gorgeous little carriage house in London - and made my office on the third floor, overlooking the treetops in North West London.

Often one finds surprises in a novel, but it is rare to find a novel that is a surprise. Richard Melo's 'Happy Talk' is just that. It is like a collision of William Gaddis, M*A*S*H and The Beguiled. It is a Haiti I could never have imagined and will not soon forget. These nurses are crazy and I wish I knew them.

On the craft level, writing for children is not so different from writing for adults. You still have to have a story that moves forward. You still have to have the tools of the trade down. The difference arises in the knowledge of who you're writing for. This isn't necessary true of writing for adults.

If there's anything I'm keen to get better at in my writing, then it's the writing of prose as opposed to the writing of dialogue.