Quotes About Novelist

But who am I to give lessons? There are no real messages in my fiction. The first duty of the novelist is to entertain. It is a moral duty. People who read your books are sick, sad, traveling, in the hospital waiting room while someone is dying. Books are written by the alone for the alone.

I believe, in a funny way, the job of the novelist is to be out there on the fringes and speaking for an experience that has not really been spoken for.

Persons curious in chronology may, if they like, work out from what they already know of the Wimsey family that the action of the book takes place in 1935; but if they do, they must not be querulously indignant because the King's Jubilee is not mentioned, or because I have arranged the weather and the moon's changes to suit my own fancy. For, however realistic the background, the novelist's only native country is Cloud-Cuckooland, where they do but jest, poison in jest: no offence in the world.

Harriet laughed, remembering suddenly that a novelist owes a duty to her newspaper reporters.

A novelist couldn't possibly marry all the people from whom she wanted specialised information.

The agents of the miraculous which the novelist has at his command are, roughly speaking, conversion and coincidence;

Years later when I read the historical novelist Yamamoto Shugoro's Nihon fudoki [An Account of the Duties of Japanese Women], I recognized my mother in these impossibly heroic creatures, and I was deeply moved.)

I am certain that a novelist is someone who attributes a different reality-value to the characters and events of his story than to those of 'real' life. A novelist is someone who confuses his own life with that of his characters.

When a novelist has "something to say," they mean a message. It has political connotations, or a religious message, or a moral prescription. It means "commitment," as used by Sartre and other fellow-travelers. They are saying that the writer has a world view, a sort of truth that he wishes to communicate, and that his writing has an ulterior significance. I am against this.

Our father the novelist; my husband the poet. He belongs to the ages just don't catch him at breakfast. Artists, celebrated for their humanity, they turn out to be scarcely human at all.

A novelist's lack of awareness of and critical distance to his own body of work is due to a phenomenon that I have noticed in myself and many others: as soon as it is written, every new book erases the last one, leaving me with the impression that I have forgotten it.

I am a fictionalizing philosopher, not a novelist.

Being a novelist and being a mother have exactly coincided in my life: the call from my agent saying that I had a contract for my first novel - that was on my answering phone message when I got back from the hospital with my first child.

It's too easy to unconsciously echo another novelist's voice while reading fiction, a habit of mimicry I probably picked up as a musician.

To be a novelist, all I need is a pen and a piece of paper.

My greatest fear is feeling like a professional novelist. Somebody who creates characters, who sits down and has pieces of paper taped to the wall - what's going to happen in this scene, or this act. What I like is for it to be a much more scary, sloppy reflection of who I am.

And I didn't grow up wanting to be a director. I grew up wanting to be a writer, so for me, that was always the goal - to be a novelist, not a screenwriter. And I think, again, if I didn't have the novels, maybe I'd be much more frustrated by not having directed yet.

I guess, when I left university, I liked the idea of being a writer, and I thought then that being a writer really meant that you were a novelist. But if one of the impulses for being a novelist is wanting to be a storyteller, I never had any urge to tell stories.

I'm a novelist, editor, short story writer. I also teach, and I freelance sometimes as an arts consultant. Most of my books have been published by Warner Books, now known as Grand Central Books.

For a novelist, being 'too emotional' is often a good thing. The only thing you have to sell is your emotional experiences.

I resist when someone calls me a novelist: it implies some kind of inherent superiority of the novel. I'm not a novelist, I'm a writer.

I'm realistic about my career as a novelist. I'm certainly not a superstar and far, far from a household name, but I feel successful.

As a novelist, I suppose I can say that I'm highly articulate. But I know, as a person, in other ways, I'm not always articulate. I think we are all, from time to time, inarticulate, at some level, about some things.

As a novelist, you deepen your characters as you go, adding layers. As a reporter, you try to peel layers away: observing subjects enough to get beneath the surface, re-questioning a source to find the facts. But these processes aren't so different.