Top 1200 Novels Quotes & Sayings - Page 20
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Last updated on November 21, 2024.
I've consciously tried not to romanticize anything, especially not intelligence work. I've always said that I've been writing a series of episodic, naturalistic novels. The people just happen to be spies, politicians, civil servants.
The last time I was in Spain I got through six Jeffrey Archer novels. I must remember to take enough toilet paper next time.
What are American dry-goods? asked the duchess, raising her large hands in wonder and accentuating the verb. American novels, answered Lord Henry.
The worst violence we can do to each other often is psychological, especially in families. I dwell a lot on domestic danger. Thats the backdrop of most of my novels - what kind of damage is done without ever lifting a finger.
I've always been really impressed with some of the longer graphic novels and thought it would be really amazing if one day I could try something like that.
There are people who say they want to write novels. They think, 'I'll learn my craft on the romance novel.' If you don't love the genre, it's going to show, and it's not going to be a good book.
As for writing novels - it's what I've done for 30 some-odd years. I can't suddenly say I'm going to take up golf. I need something in my life. As long as I can write a coherent sentence, I'll keep at it.
Literature - novels, plays, and poems - can have an uncanny dual life, where they simultaneously represent something eternal and something historical, and this is often how they are taught in school.
I asked a French critic a couple of years ago why my books did so well in France. He said it was because in my novels people both act and think. I got a kick out of that.
Much as I love stories, I think I'll only be satisfied with myself as a writer if I'm able to produce a novel that feels publishable. The books that truly take me away - for weeks at a time - are all novels.
When I was in my early 20s, my dream was to write mystery novels. I wanted to do what my favourite crime writer, Ross Macdonald, did - crank out a book a year. The only problem - and it was a considerable one - was that I stank.
I believe that the short story is as different a form from the novel as poetry is, and the best stories seem to me to be perhaps closer in spirit to poetry than to novels.
Graphic novels are not traditional literature, but that does not mean they are second-rate. Images are a way of writing. When you have the talent to be able to write and to draw, it seems a shame to choose one. I think it's better to do both.
People in my novels always have terrible problems. If they are not terrible, I make them more terrible.
I always figure there are novels and short stories, and in those, I'm God. No one tells me what to do. I don't have to lose a page, or cut anything, it's just mine. Then there are other things where you're up against realities.
My first book deal was for two Mark Genevich novels. I hadn't planned on writing a second Genevich novel, but I was contracted to do so, and so there I was being introduced as a crime writer.
Mostly it's lies, writing novels. You set out to tell an untrue story and you try to make it believable, even to yourself. Which calls for details; any good lie does.
When I was a teenager, what I most wanted to read were fantasy novels. Not Tolkien and Malory, but sword-and-sorcery pulp. I craved glowy blue magic, chainmail bikinis, dragons with unpronounceable names.
Poetry, fiction as novels or short stories - these are autonomous as created by their authors. They should stand on their own, like pieces of furniture that should be judged as to their usefulness, elegance.
The 'stuff' in novels touches on every aspect of the world and people's lives. That's what makes it so remarkable just how little there is in the novel about the world of money.
Muse, time has taught me that all metaphysical systems, even historical facts given as truths, are hardly that, so I amuse myself with more agreeable lies; I no longer read anything but novels.
Ironically, I come from a family of lawyers - my dad, my grandfather, and now my oldest son. And some of my very best friends are lawyers, though they don't resemble the ones that appear in my novels.
You have to be kind of clued into them, they are a world of their own, and most people find them disappointing because the best short stories are not constructed like novels.
To me, novels are a trip of discovery, and you discover things that you don't know and you assume that many of your readers don't know, and you try to bring them to life on the page.
As a kid I wanted to write science fiction, and I was never without a book. Later I really got into being a scientist and never thought I'd be writing novels.
People often ask if my books should be read in any particular order, but they're all standalone novels, so picking up any one of them would be fine.
I think that's because believable action is based on authenticity, and accuracy is very important to me. I always spend time researching my novels, exploring the customs and attitudes of the county I'm using for their setting.
History is present in all my novels. And whether I am directly talking about the sociological moment or just immersing my character in the environment, I am very aware of it.
I try to write short novels and leave details out not because I want to be minimalist, but because I think that it enables the readers' creativity and interaction with the book.
All novels are about certain minorities: the individual is a minority. The universal in the novel-and isn't that what we're all clamoring for these days?-is reached only through the depiction of the specific man in a specific circumstance.
I would be pleased if someone would invent a pill to remove my impatience, moodiness, and occasional bursts of anger. But if they did, I wouldn't be able to write my novels or paint.
One of the things that made me try writing novels was I could take time off to be with the kids. That's the practical side of what I love about the writing life.
The worst violence we can do to each other often is psychological, especially in families. I dwell a lot on domestic danger. That's the backdrop of most of my novels - what kind of damage is done without ever lifting a finger.
As a kid, I became a total SF geek. It started in the 5th grade with Asimov's 'Lucky Starr' series of what would now be called 'young adult' novels of adventures in the solar system.
I always write my novels with music (I don't listened to the music seriously.) Music seems to encourage me.
Dystopian novels help people process their fears about what the future might look like; further, they usually show that there is always hope, even in the bleakest future.
I've loved 'Vanity Fair' since I was 16 years old. You know, we're all colonial hangovers in India, steeped in English literature. It is one of these novels that I read under the covers at my convent boarding school in Simla.
I don't think of literary novels as self-help documents, although literature undoubtedly saved my life when I was young, enabling me to disappear into all manner of stories, to recognise feelings that I felt alone in.
My novels tend to come about from a fusion of two big ideas, creating a critical mass that then fissions, throwing off hundreds of other particles, riffs, tropes and characters.
I will say that there is an inordinate amount of medicine in my novels, especially the first one. There are a lot of medical things that happen. A hip fracture, three different kinds of lung cancer, pneumonia, blood poisoning, and so on.
I started out as a poet. I've always been a poet since I was 7 or 8. And so I feel myself to be fundamentally a poet who got into writing novels.
It's rather useless to write a gripping narrative with nothing in it but climate change because novels are always about people even if they purport to be about rabbits or robots.
The novels that have fascinated me most are the ones that have reached me less through the channels of the intellect or reason than bewitched me.
I used to like Dick Francis novels as a kid, who was like Enid Blyton but based around horses, and he'd write about the skulduggery of the racing world.
I feel quite at home writing short stories but nervous and anxious when writing novels, as if the bad time of consecutive failures might arise again.
When I look back over my novels what I find is that when I think I'm finished with a theme, I'm generally not. And usually themes will recur from novel to novel in odd, new guises.
Even when she was alive, Esther Kreitman's novels, short stories and translations received far less attention than the work of her famous brothers, I. J. and Isaac Bashevis Singer.
Get Carter remains among the great crime novels, a lean, muscular portrait of a man stumbling along the hard edge - toward redemption. Ted Lewis cuts to the bone.
I think a writer's first job is to entertain, even in novels: to tell a compelling story that pulls the reader along toward an end. At the same time, the best stories are character-driven.
I could have been a cult writer if I'd kept writing surrealistic novels. But I wanted to break into the mainstream, so I had to prove that I could write a realistic book.
In America they have to know just what you are-- novelist, poet, playwright... Well, I've been all of them... I think poems and novels and stories spring from the same seed. It's not like, say, playing polo and knitting.
I bought a selection of short, romantic fiction novels, studied them, decided that I had found a formula and then wrote a book that I figured was the perfect story. Thank goodness it was rejected.
As well as writing novels and doing short-order journalism, I am also the full-time carer of my husband, who has Alzheimer's. Each day feels like a race that must be run.
To have her meals, and her daily walk, and her fill of novels, and to be left alone, was all that she asked of the gods.
A risk for a poet-novelist is imbalance: The poems can flatten into prose or lose their intensity of focus; the novels can stall amid lofty writing or literary preciousness and ignore the engine of plot and character.
I've found that writing novels is an all-absorbing experience - both physical and mental - and I have to do it every day in order to keep the rhythm, to keep myself focused on what I'm doing.
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.
I am a person who can't teach writing or make a living in any public way, as I get confused when interrupted or overstimulated. In a classroom or crowded room, I all but blank out. So my only income is from novels.
I liked 35 and in both my novels that is the age of the lead characters. I tried making them my age but they just seemed to keep moaning about stuff.
I never outline my novels before I write. I do have a vague sense of beginning, middle, and end at the outset of each book, but for me, writing has always been a very character-driven process.
