Top 1200 Romance Novel Quotes & Sayings - Page 4

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

For me, romance is only 'true' when there are two sides to it. I think to have true romance you have to have the moments where you feel alone and you're crying and you feel like your heart's about to break... as well as the moments where you're floating through this orgasmic dream state.

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

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

People will say, 'I really don't like romance,' or, 'I don't read it - at all!' So how do they know? Weirdly, I think that the 'Fifty Shades of Grey' phenomenon introduced women to romance who would never have read it. And that means that they then go on to read my books, and that would be great.

I have no objection to well-written romance, but I'd read enough of it to know that that's not what I had written. I also knew that if it was sold as romance I'd never be reviewed by the 'New York Times' or any other literarily respectable newspaper - which is basically true, although the 'Washington Post' did get round to me eventually.

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.

In general, I think every novel is a political novel, in that every novel is an argument about how the world works, who has power, who has a voice, what we should care about. But political novels can be boringly polemical if they end up being too black and white, too one dimensional, like war is bad, killing people is wrong.

If I'm writing a novel, I'll probably get up in the morning, do email, perhaps blog, deal with emergencies, and then be off novel-writing around 1.00pm and stop around 6.00pm. And I'll be writing in longhand, a safe distance from my computer. If I'm not writing a novel, there is no schedule, and scripts and introductions and whatnot can find themselves being written at any time and on anything.

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.

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

I thought why not write a kind of mystery, murder, thriller book, but use romance language where the language plays completely against the very dark subject matter, that very strange murderous plot, but use that Harlequin Romance language.

I think with something like 'Watchmen' you can genuinely call that a graphic novel because it has the weight and the intent of a proper novel and it also is the complete story.

For readers worldwide, the attraction of romance novels seems to be that they provide hope, strength, and the assurance that happy endings are possible. Romance makes the promise that no matter how bleak things sometimes look, in the end everything will turn out right and true love will triumph -- and in an uncertain world, that's very comforting.

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

Great, big, serious novels always get awards. If it's a battle between a great, big, serious novel and a funny novel, the funny novel is doomed.

If someone does learn about the world from reading a novel of mine, that makes me very happy. It's probably not what brings me into the novel in the first place - I usually am pulled in by some big question about the world and human nature that I'm not going to resolve in the course of the novel. But I'm very devoted to getting my facts straight.

We all do role-play. Sometimes behind the camera, and sometimes in front of it. I am the few lucky ones who have been able to wear both hats and especially have been able to romance the camera in a believable way, and I hope that this romance between us never ends.

I miss the romance. I keep saying this over and over again, but dance follows music. And if the accent today is percussion and rhythm and loudness, then that is the way the dance numbers will be. But it is pretty hard on romance with seven guitars, three drums, and no melody instruments in the band.

Her definition of romance was absentminded intimacy, the way someone else's hand stray to your plate of food. I replied: no, that's just friendship; romance is always knowing exactly where that someone else's hands are. She smiled and said, there was a time I thought that way, too. But at the heart of the romance is the knowledge that those hands may wander off elsewhere, but somehow through luck or destiny or plain blind groping they'll find a way back to you, and maybe you'll be smart enough then to be grateful for everything that's still possible, in spit of your own weaknesses- and his.

Time and time again when I talk to individuals about approaching love with will and intentionality, I hear the fear expressed that this will bring an end to romance. This is simply not so. Approaching romantic love from foundation of care, knowledge, and respect actually intensifies romance

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

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.

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

My novels are in the literature section as opposed to the romance section of bookstores because they're not romance novels. If I tried to have them published as romances, they'd be rejected. I write dramatic fiction; a further sub-genre would classify them as love stories.

I tend to have a long con when it comes to romance, in part because I like the build-up as much as the payoff, and in part because I think there are a wealth of relationships out there (friend, sibling, rival, etc.), and straight-up romance interests me less than tension.

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.

Mircea must have heard us come in, but he continued what he was doing. He stood with his back to us, the candlelight on his bare skin causing his muscles to fall into sharp relief. He’d washed the river gunk out of his hair and now he threw it back, the water droplets shimmering in the light. The scene looked for all the world like a really good romance novel cover.

And I wanted to do a movie [Moonrise Kingdom] about a childhood romance - a very powerful experience of childhood romance. About what it's like to just be blindsided, when you're in fifth grade or sixth grade, by these kinds of feelings. Along the way, I sort of mixed in some interest in "young adult fantasy" writing.

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

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

We write in a culture that favors the heft of the novel. Better still if the novel in question is large enough to be wielded interchangeably as a doorstop and a weapon.

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.

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.

History is my passion. So I write what I love to read. I find that if I combine history with a strong, sensual romance, it is like a one-two punch. The reader doesn't want the history without the romance, and of course the heavier the history, the more it has to be leavened with a sensual, all-consuming love story.

I am a novelist. I traffic in subtleties, and my goal in writing a novel is to leave the reader not knowing what to think. A good novel shouldn't have a point.

I'm never interested in writing a kind of neutral, universal novel that could be set anywhere. To me, the novel is a local thing.

With '44 Scotland Street' I found myself having to work out how a daily novel works, and it is completely different to a conventional novel.

You know how some people will say to writers, "Why don't you just write a romance novel that sells a bunch of copies and then you'll have the money to do the kind of writing you want to do"? I always say that I don't have the skills or knowledge to do that. It would be just as hard for me to do that kind of writing as it would be to learn how to do any number of productive careers that I can't manage to make myself do.

When you go through life ... it all seems accidental at the time it is happening. Then when you get on in your 60s or 70s and look back, your life looks like a well-planned novel with a coherent theme ... Incidents that seemed accidental, pure chance, turn out to be major elements in the structuring of this novel. Schopenhauer says, 'Who wrote this novel? You did.'

If I can give a young author any advice, whatsoever, never let anyone announce the film sale of your first novel. Film rights are sold to almost every novel, but it shouldn't be the lead story in your first engagement with the press. Then you end up getting reviews like "a novel made for the screen" and things like that.

What we know about writing the novel is the novel.

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

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

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.

'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.

I don't want a ricochet romance, I don't want a ricochet love. If you're careless with your kisses, find another turtledove. I can't live on ricochet romance, no, no, not me! If you're gonna ricochet, baby, I'm gonna set you free.

I'm a fictional monogamist - I can only work on one thing at a time - but each novel starts growing in my head when I'm about midway through the previous novel.

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 think with something like Watchmen you can genuinely call that a graphic novel because it has the weight and the intent of a proper novel and it also is the complete story.

In reading a novel, any novel, we have to know perfectly well that the whole thing is nonsense, and then, while reading, believe every word of it. Finally, when we're done with it, we may find - if it's a good novel - that we're a bit different from what we were before we read it, that we have changed a little... But it's very hard to say just what we learned, how we were changed.

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

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.

In some ways, the best novel about terrorism, though it's not a novel, is 'The Looming Tower' by Lawrence Wright or 'Perfect Soldiers' by Terry McDermott.

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

It's interesting because when David Fincher was making "Fight Club," he said, "It's a romance." And it really is. Almost everything I ever write is just a romance. And that needed to be sort of pointed up at the end of "Fight Club." The film has a very different ending than the book does.

You think you're writing one historical novel and it turns into three, and I'm quite used to a short story turning into a novel - that's happened through my whole career.

Oh God. valentine's Day tomorrow. Why? Why? Why is (the) entire world geared to make people not involved in romance feel stupid when everyone knows romance does not work anyway. Look at (the) royal family. Look at Mum and Dad.

The romance is the primary plot in a story that has two plots. The second plot is not a subplot, but one that is interwoven with the romance plot (if that makes sense.) A story needs compelling characters in a compelling plot.