Top 1200 Romance Novel Quotes & Sayings - Page 3

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.

You can't have a novel without real, believable people, and once you get into either too theoretical a novel or too philosophical a novel, you get into the dangers that the French novel has discovered in the past 50 or 60 years. And you get into a sort of aridity. No, you have to have real, identifiable people to whom the reader reacts in a way as if they were real people.

One of our fundamental human needs is finding our partner that we hope we will stay with for the rest of our lives. You often find the same search in other genres. The mystery novel has a romance subplot. Literary novels often focus on that relationship but do not often end well.

Lust is temporary, romance can be nice, but love is the most important thing of all. Because without love, lust and romance will always be short-lived.

I don't write the same book over and over - I think if I did that, I would stop writing. I couldn't write a series with the same character, and I couldn't write a romance novel over and over again that takes place at a different beach every year. That's not who I am.

Even though the method of 'Harvest' was a historical novel, its intentions were that of a modern novel. I'm asking you to think about land being seized in Brazil by soya barons. It's also a novel about immigration.

A novel is not an allegory.... It is the sensual experience of another world. If you don't enter that world, hold your breath with the characters and become involved in their destiny, you won't be able to empathize, and empathy is at the heart of the novel. This is how you read a novel: you inhale the experience. So start breathing.

Romance is an illusion. Well, romance is not a complete illusion, but it's ephemeral. It does not last.

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.

I sold my first short story while I was home on maternity leave, then began working on novels. Since I was reading and enjoying romance novels at the time, the first two unpublished manuscripts I wrote were both romances. I sold my third novel, 'Call After Midnight,' to Harlequin Intrigue after submitting it unagented.

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

Romance is important to me, and to have a romance with your husband takes a bit of doing. The key is to make sure your partner misses you. That means you have to take yourself away.

Story writers say that love is concerned only with young people, and the excitement and glamour of romance end at the altar. How blind they are. The best romance is inside marriage; the finest love stories come after the wedding, not before.

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.

While we look to the dramatist to give romance to realism, we ask of the actor to give realism to romance.

Madly, futilely, I wrote novel after novel, eight in all, that failed to find a publisher. I persisted because for me the novel was the supreme literary form: not just one among many, not a relic of the past, but the way we communicate to one another the subtlest truths about this business of living.

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.

Like many another romance, the romance of the family turns sour when the money runs out. If we really cared about families, we would not let 'born again' patriarchs send up moral abstractions as a smokescreen for the scandal of American family economics.

The history of the Bible text is a romance of literature, though it is a romance of which the consequences are of vital import; and thanks to the succession of discoveries which have been made of late years, we know more about it than of the history of any other ancient book in the world.

Like so many others, I came to romance during the golden age of it - Judith McNaught, Julie Garwood, Johanna Lindsey and Jude Deveraux were at the height of their historical domination. Without those women, I wouldn't be a romance novelist.

It's disingenous for me to say that I wasn't trying to write a moral novel. By its very nature as a novel about the Iraq War, Fobbit steps into the political conversation. There's no way to avoid that. I can appreciate that readers are probably going to line up on one side of the novel or the other. I hope they go to those polar extremes, actually.

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

Imagination, whatever may be said to the contrary, will always hold a place in history, as truth does in romance. Has not romance been penned with history in view?

To read a novel requires a certain kind of concentration, focus, devotion to the reading. If you read a novel in more than two weeks, you don't read the novel really.

Romance: That's one of the things that makes Spider-Man really unique, in terms of the comic books. There is a tender, romantic quality to it. And certainly, that's something that's always fascinated me about the cinema: good romance.

The point is, that the function of the novel seems to be changing; it has become an outpost of journalism; we read novels for information about areas of life we don't know - Nigeria, South Africa, the American army, a coal-mining village, coteries in Chelsea, etc. We read to find out what is going on. One novel in five hundred or a thousand has the quality a novel should have to make it a novel - the quality of philosophy.

Someone gives jewelry, and there's a bit of romance. If you buy it from a store, the store is trying to romance you. Even when I'm making the jewelry, I have to be romanced.

I have a slightly contrarian streak as a writer, and one of the things I was interested in was how distilled could I make a life, and how I could cross what is kind of trivialized as a domestic novel with a novel of ideas, a philosophical novel.

You know, the point of a novel - or to me, the point of a novel, the gift of a novel is to go really deeply inside people's lives and inside their personal experiences.

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

Madly, futilely, I wrote novel after novel, eight in all, that failed to find a publisher. I persisted because for me the novel was the supreme literary form - not just one among many, not a relic of the past, but the way we communicate to one another the subtlest truths about this business of living.

Ripe for romance? Is that not only the self-conscious and sensitive young man's way of saying he was heavy with passion? Is not, perhaps, romance only the fiction by means of which the tender-minded negotiate their lust?

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.

The process of writing a novel is getting to know more about the novel until you know everything about it. And it's been described as a kind of dreamlike state where you're letting the novel make its own shape, and you're putting into it the pleasure of creation, which is intoxicating.

The more readings a novel has, even contradictory, the better. In journalism, you talk about what you know; you have provided yourself with records, you have gathered information, you have performed interviews. In a novel, you talk about what you don't know, because the novel comes from the unconscious. They are very different relationships with words and with the world. In journalism, you talk about trees; in the novel, you try to talk about the forest.

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

I did a research assignment on life in the Middle Ages only last year. I found the era fascinating, all that chivalry and court romance. But I never pictured anything as poor as this village. This is the pits. There's no romance here, definitely no chivary. And it stinks--of sweat and smoke and sewage.

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.

Why should I tell you?" he asked, with no small amount of petulance. "If you tell me, I will leave you alone," I said. "And if you don't tell me, I'm going to grab the nearest ghostwritten James Patterson romance novel and I am going to follow you through this store reading it out loud until you relent." Now I could see the fright beneath the defiance.

I have always been fascinated with romance and the fact that it is so effortless when we first fall in love but how it then becomes a conscious effort to stay creative and connected. Thats why I always say, 'Get wise: keep your romance alive.'

My songs are my girlfriends. I have a secret romance with all of them. I romance with them year after year.

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

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

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.

To read a novel requires a certain amount of concentration, focus, devotion to the reading. If you read a novel in more than two weeks, you don't read the novel, really.

Everyone thinks romance is weak. Yet romance is everyone's secret dream-it's why we're alive.

At a time when opportunism is everything, when hope seems lost, when everything boils down to a cynical business deal, we must find the courage to dream. To reclaim romance. The romance of believing in justice, in freedom, and in dignity. For everybody.

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.

I don't try to take a person out of our world and put them into my world; that wouldn't work. It's sort of like bad Photoshop: If you see something Photoshopped together - and even if it's done pretty well - the eye catches on it. That happens a lot when people try to cut and paste people from our world into their fourteenth-century historical romance novel.

'The Turnaround' isn't even really a crime novel. But you need conflict to make a novel, any kind of novel, and I don't know any other way to do it than crime.

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.

Most of the pop videos I've seen that have any male/female interaction are usually centered around a romance - and that's great, I am all for romance. But let's face it, there are a lot of other sexualities and identities that are well-deserving of some shiny pop video love.

English writing tends to fall into two categories - the big, baggy epic novel or the fairly controlled, tidy novel. For a long time, I was a fan of the big, baggy novel, but there's definitely an advantage to having a little bit more control.

I feel that whatever virtues the novel may have are very much connected with the limitations you mention. I am not writing a conventional novel, and I think that the quality of the novel I write will derive precisely from the peculiarity or aloneness, if you will, of the experience I write from.

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.

One novel in five hundred or a thousand has the quality a novel should have to make it a novel -- the quality of philosophy.

To a man who is uncorrupt and properly constituted, woman always remains something of a mystery and a romance. He never interprets her quite literally. She, on her part, is always striving to remain a poem, and is never weary of bringing out new editions of herself in novel bindings.

There is something sinister, something quite biographical about what I do - but that part is for me. It's my personal business. I think there is a lot of romance, melancholy. There's a sadness to it, but there's romance in sadness. I suppose I am a very melancholy person.

Romance is a bird that will not sing in every bush, and love-affairs, however devoted the sentiments that inspire them, are often so business-like in the prudence with which they are conducted, that romance is reduced to a mere croaking or a disgusted silence.

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.