Quotes About Novel

Ä°nsan son sayfas?na kadar ne olaca?? bilinmeyen bir roman gibidir. BaÅŸka türlü olsayd? okunmaya deÄŸmezdi...

A man is like a novel: until the very last page you don't know how it will end. Otherwise it wouldn't even be worth reading.

A novel, basically, is writing one sentence — then, without violating the scope of the first one, writing the next sentence.

The greatest multiplex in the universe is inside your mind, and the only ticket you need is a good, well-written novel.

I first said I wanted to be a writer at the age of seven. It took longer to get that first novel out than I expected.

My first novel, Death Will Get You Sober, came out on my sixty-fourth birthday--not quite the career path I expected.

There are no new plots, but there are plenty of fresh new characters with whom you can grab the reader. Characterization is the key to successful commercial fiction. Characterization starts with goal, motivation, and conflict. Character

I don't remember learning to read, but the first thing I remember reading is a science fiction novel.

this book. It takes a village to raise a child, which is precisely what writing a novel is. If I have

Jennifer Lynn Barnes

LA FAUTE DE L'ABBE MOURET' was, with respect to the date of publication, the fourth volume of M. Zola's 'Rougon-Macquart' series; but in the amended and final scheme of that great literary undertaking, it occupies the ninth place.

It was terrifying, liberating, and risky. But one day I woke up and decided to try it." (On writing her first novel, "Miss Dreamsville and the Collier County Women's Literary Society")

I had been a reporter for 15 years when I set out to write my first novel. I knew how to research an article or profile a subject - skills that I assumed would be useless when it came to fiction. It was from my imagination that the characters in my story would emerge.

I wanted to discuss my life with him not as a patient talking to an analyst but as if we were two literary critics discussing a novel.... I had a literature rather than a personality, a set of fictions about myself.

What I brought to Dr. Schachtel was not a condition or a situation but a poetics. I wanted to discuss my life with him not as a patient talking to an analyst but as if we were two literary critics discussing a novel. Of course, that's what all patients want, but the irony was that with me it might have worked. It might have been the shortest, or the only, way through my defenses, because I had a literature rather than a personality, a set of fictions about myself.

Undoubtedly the novel has means of its own—language not the image is its material, its intimate effect on the isolated reader is not the same as that of a film on the crowd in a darkened cinema—but precisely for these reasons the differences in aesthetic structure make the search for equivalents an even more delicate matter, and thus they require all the more power of invention and imagination from the film-maker who is truly attempting a resemblance. One

Then suddenly, standing in front of me, virtually stopping me, with that extraordinary way she had of calling me, the way you might call someone from room to room in an empty castle: 'André? André?...You will write a novel about me. I'm sure you will. Don't say you won't. Be careful: everything fades, everything vanishes. Something must remain of us...

Lost Illusion is the undisclosed title of every novel.

Almost all great writers have as their motif, more or less disguised, the passage from childhood to maturity, the clash between the thrill of expectation and the disillusioning knowledge of truth. 'Lost Illusion' is the undisclosed title of every novel.

Montalbano sat outside reading a good detective novel by two Swedish authors, husband and wife, in which there wasn't a page without a ferocious and justified attack on social democracy and the government. In his mind, Montalbano dedicated the book to all those who did not deign to read mystery novels because, in their opinion, they were only entertaining puzzles.

Likewise, Oscar Wilde asked an English journalist to look over 'The Picture of Dorian Gray' before publication: "Will you also look after my 'wills' and 'shalls' in proof. I am Celtic in my use of these words, not English." Wilde's novel upset virtually every code of late Victorian respectability, but he had to get his modal auxiliaries just right.

Also you would have to make your novel very sad—the world demands that gay life, like the life of the Very Rich, be ultimately sad,

Critics who do the weekly recap, I find that kind of absurd. That's like reviewing chapters in a novel.

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.