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My writing often contains souvenirs of the day - a song I heard, a bird I saw - which I then put into the novel.
It makes more sense to write one big book - a novel or nonfiction narrative - than to write many stories or essays. Into a long, ambitious project you can fit or pour all you possess and learn.
When I was 26, I wrote my first mystery, 'The Thomas Berryman Number', and it was turned down by, I don't know, 31 publishers. Then it won an Edgar for Best First Novel. Go figure.
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.
Let me now praise the American writer James Dickey. In 1970, his novel 'Deliverance' was published. I found it to be 278 pages that approached perfection. Its tightness of construction and assuredness of style reminded me of 'The Great Gatsby.'
In the case of my book, I don't think it's really the coming-out gay novel that everyone really needed, even though it was received as such. The boy is too creepy, he betrays his teacher, the only adult man with whom he's enjoyed a sexual experience, etc.
'The Sound of Things Falling' may be a page turner, but it's also a deep meditation on fate and death. Even in translation, the superb quality of Vasquez's prose is evident, captured in Anne McLean's idiomatic English version. All the novel's characters are well imagined, original and rounded.
I love the novel of 'The English Patient'; I think it's a profoundly beautiful novel. I love the movie of 'The English Patient'; I think it's a profoundly beautiful movie. And they're totally different. You accept each on its own terms, and that's kind of the ideal.
There was an ITV television production of the second novel I wrote, called 'Murder of Quality.' It was a little murder story set in a public school - I'd once taught at Eton, and I used that stuff.
John le Carre
'The Good Soldier' is an odd and maybe even unique book. That it is a masterpiece, almost a perfect novel, comes as a repeated surprise even to readers who have read it before.
I never wanted to make a graphic novel. As soon as you become a 'writer,' you have to be intelligent all the time... I like the fact that I have the right once in a while to say silly things.
I see the poem or the novel ending with an open door.
I'm working on a nonfiction book on Nepal and a novel about diasporas.
I write easily, let's put it that way. And in a novel particularly, the characters take over. And they tell me what to say and they tell me what they're doing. And I'm a third of the way into a novel and then I just let the characters finish it for me.
I feel a bigger sense of fulfillment when writing a novel, and short stories are more about instant gratification.
I don't think Ireland has ever had a genius for the novel. Of course, there were plenty of Irish novels, but I don't think that was ever the natural means of expression for the Irish.
Reading the several thousand pages of Christopher Isherwood's complete journals is an instructive corrective to the prissiness of reading fiction. Isherwood had faults that we'd say were unforgiveable in a novel (he was careful to distance himself from these in his autobiographical fiction).
The first novel I wrote was a monster - clocking in at 180,000 words - but it died a death, a death it deserved. It was called 'The Gods First Make Mad.' It was a good title, but it was the only good thing about the book. I didn't let that put me off.
I had always said to myself that forty was the cut off point of my apprenticeship which may for some people sound like a very long one, but the novel as art is a middle-aged art.
Now you mustn't think that I don't have any ideas for novels in my head. I've got ideas for ten novels in my head. But with every idea I have, I already foresee the wrong novels I would write, because I also have critical ideas in my head; I've got a full theory of the perfect novel, and that's what stumps me.
I've read every single fantasy novel there is. I mean, I would challenge a lot of people to read more fantasy novels than I have.
The novel is born of disillusionment; the poem, of despair.
It is the test of a novel writer's art that he conceal his snake-in-the-grass; but the reader may be sure that it is always there.
When I'm working on a novel of my own, I try to read mostly nonfiction, although sometimes I break down and peek at something else.
A novelist writes a novel, and people read it. But reading is a solitary act. While it may elicit a varied and personal response, the communal nature of the audience is like having five hundred people read your novel and respond to it at the same time. I find that thrilling.
I wrote a novel. It's called 'The Middlesteins.' It's fiction. It's not a memoir. I'm not a spokesperson.
Martin Luther King, Jr.
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All truths are easy to understand once they are discovered; the point is to discover them.
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