Top 1200 Novel Writing Quotes & Sayings - Page 3

There's one novel, Cujo, that I barely remember writing at all.

Whether I'm writing a novel about a guy mourning the death of his father or whether I'm writing a show about people killing each other, you want to hear characters speak and be funny and witty.

I think the term "artist's novel" for me has referred to writing which supports an art practice or a more specifically a particular artwork or project. The nonfiction novellas and nonfiction novel I have written play a role in my artwork as objects - which I will return to, but I write the books to exist autonomously.

Writing a novel is a lot like reading one.

Writing a film - more precisely, adapting a book into a film - is basically a relentless series of compromises. The skill, the "art," is to make those compromises both artistically valid and essentially your own. . . . It has been said before but is worth reiterating: writing a novel is like swimming in the sea; writing a film is like swimming in the bath.

Writing a short story is like having a short intense affair, whereas writing a novel is like a long rich marriage.

The central problem of novel-writing is causality.

What I like about writing a stand alone novel is you're starting with a fresh world and fresh characters. Part of what I love about writing is that journey of discovery where it's all new to me as well.

The biggest downside to being a novelist is writing the novel.

There are three rules for writing a novel. Unfortunately, no one knows what they are.

First of all, all writing includes some part of the self. The relationship of the self and the other exists in writing, whether autobiographical or novel. There is a self and an other.

In my head, the 5 issues of A Spoon Too Short comprise one novel: a 100 page graphic novel sequel to Douglas' two Dirk books, taking some of the ideas he was working on before he died, and a whole bunch of new stuff from me and a little from Max Landis (who is the Executive Producer on the book as well as writing the forthcoming TV series).

It's very bad to write a novel by act of will. I can do a book of nonfiction work that way - just sign the contract and do the book because, provided the topic has some meaning for me, I know I can do it. But a novel is different. A novel is more like falling in love. You don't say, 'I'm going to fall in love next Tuesday, I'm going to begin my novel.' The novel has to come to you. It has to feel just like love.

Just getting something to work usually means writing reams of code fast, like a Stephen King novel, but making it maintainable and high-quality code that really expresses the ideas well, is like writing poetry. Art is taking away.

I think I was also afraid of the novel. I write line by line, proceeding at snail's pace, rewriting as I go and paring the excess away. This is against all the best advice for writing long form prose, and I have tried over the years to break myself of the habit, but I can't bear to leave anything ungainly on the page and half the fun for me is that tinkering. So the length of a novel was a daunting prospect.

Writing a novel is solitary, but I don't mind that.

What I've done is I've started writing a novel, so that's my big adventure.

Writing a novel about feminism can be a thankless task.

I wish I could spend six years writing one novel.

I am not sure I knew what I was doing, writing an "apocalypse" novel, when I started this book. Now that the book is done, I can own that I have in fact written an apocalypse novel, one that speculates on a dark, dark future. Why I did it, I really don't know - every time people read my work they comment on its darkness, its sadness.

Oh you know, I've been writing a novel.

I'm writing a novel about a scallywag who is a bit like me.

I was writing 'Outlander' for practise and didn't want anyone to know I was doing it. So I couldn't very well announce to my husband that I was quitting my job and abandoning him with three small children to visit Scotland to do research for a novel that I hadn't told him I was writing.

Facebook is the novel we are all writing

What I found interesting writing a screenplay as opposed to writing a novel is not the obvious thing, which is having to pare everything down and find the kind of essence, the skeleton if you like, which can then be fleshed out by performance and cinematography.

I know I'll keep writing poems. That's the constant. I don't know about novels. They're hard. It takes so much concentrated effort. When I'm writing a novel it's pretty much all I can do. I get bored. It takes months. Movies do the same thing. It's all-encompassing. It feels like I'm going to end up writing poems, short stories and screenplays.

Novel-writing is, for the novelist, a game of let's pretend.

Novel writing wrecks homes.

Novel writing is solitary work.

Try writing...a list, a letter, a journal, a novel, a declaration.

I've quit writing screenplay [adaptations]. It's too much work. I don't look at writing a novel as work, because I only have to please myself. I have a good time sitting here by myself, thinking up situations and characters, getting them to talk - it's so satisfying. But screenwriting's different. You might think you're writing for yourself, but there are too many other people to please.

When you sit down to write a film, you direct it in your head. If you are writing a scene, you are watching the scene. And maybe it's different when you are writing a novel because you are thinking of it in terms of being read. But films are only consumed one way - through the eyes and the ears.

The hard part about writing a novel is finishing it.

The writing of a novel is taking life as it already exists, not to report it but to make an object, toward the end that the finished work might contain this life inside it and offer it to the reader. The essence will not be, of course, the same thing as the raw material; it is not even of the same family of things. The novel is something that never was before and will not be again.

I think that the joy of writing a novel is the self-exploratio n that emerges and also that wonderful feeling of playing God with the characters. When I sit down at my writing desk, time seems to vanish. ... I think the most important thing for a writer is to be locked in a study.

Writing a novel resembles a journey with only the sketchiest of maps.

But novels are never about what they are about; that is, there is always deeper, or more general, significance. The author may not be aware of this till she is pretty far along with it. A novel's whole pattern is rarely apparent at the outset of writing, or even at the end; that is when the writer finds out what a novel is about, and the job becomes one of understanding and deepening or sharpening what is already written. That is finding the theme.

I suppose drama can either take the place of a novel or can be very closely allied with it. It's quite customary to turn a successful novel into a film or a television series because you can dramatize and pictorialize a novel.

There are jobs that can be done equally well by men or by women and that finally you can't see a difference. But from the moment that you involve yourself fully in writing a novel, for example, or an essay, then you are involved as a woman, in the same way that you can't deny your nationality - you are French, you are a man, you are a woman... all this passes into the writing.

After 20 years of writing academic prose and lectures, it seems very familiar and straightforward to me. Writing a novel for the first time, I was reminded of just how difficult it is to figure out how to get this stuff done when you don't really know what you're doing.

The short story, free from the longuers of the novel is also exempt from the novel's conclusiveness--too often forced and false: it may thus more nearly than the novel approach aesthetic and moral truth.

Actually, I enjoy the process of writing a big long novel.

I always rewrite the very beginning of a novel. I rewrite the beginning as I write the ending, so I may spend part of morning writing the ending, the last 100 pages approximately, and then part of the morning revising the beginning. So the style of the novel has a consistency.

I think most fiction writers naturally start by writing short stories, but some of us don't. When I first started writing, I just started writing a novel. It's a hard way to learn to write. I don't recommend it to my students, but it just happens that way for some of us.

Writing a novel is agony.

I started writing a novel from the monster's point of view. It has its own difficulties but, I'm ashamed to say, it's much easier writing from a psychopath's point of view than from that of their empathetic opposite.

I can't be reading novels when I'm writing a novel, because somebody's voice creeps in. The hardest thing to do is keep the tone and your attitude over the course of a year or however long it takes.But when I'm writing short stories, which I will be doing shortly, I can read anything I like.

I always knew writing a novel was a great thing.

I've always been ambidextrous, writing short stories and novels, and I pretty much have been writing a novel and a handful of short stories every year since '91.

I think there's a joy to be had in taking readers where they just don't want to go. If you are writing a properly realist novel, then don't blink. Why not see something for what it is and render it truthfully? I find it a good way of going about writing - not to blink.

While working on my first five books, I kept wishing I was writing a novel. I thought until you wrote a novel, you weren't taken seriously as a writer. It used to trouble me a lot, but nothing troubles me now, and besides, there has been a change. I think short stories are taken more seriously now than they were.

Just keep writing, and try to finish that novel. Remember, all authors started exactly where you are right now; the only difference between a published author and a non-published one is that the published author never stopped writing.

So, I outlined a horror novel and started writing.

I think I got spoiled and that writing a short story and getting it published, or writing a novel and getting it published, you pretty much get to do the first, second and third draft yourself without a whole lot of interference.

You never learn how to write a novel. You just learn how to write the novel that you're writing.

As an artist your first loyalty is to your art. Unless this is the case, you're going to be a second-rate artist. I don't mean there's never any overlap. You learn things in one area and bring them into another area. But giving a speech against racism is not the same as writing a novel. The object is very clear in the fight against racism; you have reasons why you're opposed to it. But when you're writing a novel, you don't want the reader to come out of it voting yes or no to some question. Life is more complicated than that. Reality simply consists of different points of view.

But to be perfectly frank, this childish idea that the author of a novel has some special insight into the characters in the novel ... it's ridiculous. That novel was composed of scratches on a page, dear. The characters inhabiting it have no life outside of those scratches. What happened to them? They all ceased to exist the moment the novel ended.

You have to remember that Shadow and Bone' was the first book I sold. And it was, in fact, the first book I ever finished writing, despite many attempts before that to finish a novel. And when I was writing it, I didn't know if anybody was going to buy one book, let alone all three.

I prefer reading novels. Short stories are too much like daggers. And now that I'm done with my collection I'm more interested in different forms of writing and other kinds of narrative art. I'm working on a screenplay. But when I was working on Eileen, I definitely felt like I was taking a piss. Like, here I am, typing on my computer, writing the "novel." It wasn't that it was insincere, but there was a kind of farcical feeling I had when I was writing.

A man who is not born with the novel-writing gift has a troublesome time of it when he tries to build a novel. I know this from experience. He has no clear idea of his story; in fact he has no story. He merely has some people in his mind, and an incident or two, also a locality, and he trusts he can plunge those people into those incidents with interesting results.