Quotes About Novel

This novel was in a sense developed in stages. First published as a series in St. Nicholas Magazine in 1887 as Sara Crewe, or What Happened at Miss Minchin's, it proved extremely popular and Burnett followed this with an equally popular dramatisation of the serial, re-named The Little Princess. Burnett was then persuaded to re-write the fictional version under the new name, whilst including the numerous amendments she had made to the story in the play.

A neighbor once told me he had trouble with García Márquez's novel because he likes to drink while he reads, and 'The Autumn of the Patriarch' gave him no space in which to take a sip of his beer.

I write whenever it suits me. During a creative period I write every day; a novel should not be interrupted.

Dune Messiah is the most misunderstood of Frank Herbert's novels. The reasons for this are as fascinating and complex as the renowned author himself. (Brian Herbert's Introduction)

Children of Dune is an exciting, vividly imagined novel. It is Frank Herbert at the top of his craft. Brian Herbert Seattle, Washington January 11, 2008

Dad told me that you could follow any of the novel's layers as you read it, and then start the book all over again, focusing on an entirely different layer. At the end of the book, he intentionally left loose ends and said he did this to send the readers spinning out of the story with bits and pieces of it still clinging to them, so that they would want to go back and read it again. A neat trick, and he pulled it off perfectly.

Children of Dune is an exciting, vividly imagined novel. It is Frank Herbert at the top of his craft.

There can be no more beautiful spot to die in, no spot more worthy of total despair, than one's own novel.

Não me abandonarei à fadiga, lançar-me-ei inteiramente na minha novela, ainda que tenha que me cortar no rosto

And thus it happens that the reader, the closer he comes to the novel's end, the more he wishes he were back in the summer with which it begins, and finally, instead of following the hero onto the cliffs of suicide, joyfully turns back to that summer, content to stay there forever.

My first three-sisters novel in a while, 'Sandcastles' tells the story of the Sullivan family - two passionate artists and their three wildly different daughters. There's also a renegade nun and a mystery man, but I don't want to give too much away!

The first Broadway play I ever saw was 'The Bad Seed' by Maxwell Anderson and with Patty McCormack. 'The Bad Seed' was from an extraordinary novel by William March.

The idea that a book can advise a woman how to capture a man is touchingly naive. Books advising men how to capture a woman are far less common, perhaps because few men are willing to admit to such a difficulty. For both sexes, I recommend a good novel, offering scenarios you might learn from, if only because they reflect a lot of doubt.

When you get something like MTV, it's like regular television. You get it, and at first it's novel and brand new and then you watch every channel, every show. And then you become a little more selective and more selective, until ultimately... you wind up with a radio.

The success of 'The Shadow of the Wind' made me very happy, but it did not change my perspective or the way I was.

Let's put it this way: if you are a novelist, I think you start out with a 20 word idea, and you work at it and you wind up with a 200,000 word novel. We, picture-book people, or at least I, start out with 200,000 words and I reduce it to 20.

Any debut novel is usually a case of spitting into the wind - or, just maybe, casting your bread upon the waters. Without an established audience in place, first-time authors have to hope for resonant word of mouth and a receptive reviewer or three.

You can catch a scent in the wind - an idea, or a concept - and follow it. You can delve into your subconscious and see what happens, in a way you just can't when you're writing a novel.

To say 'A High Wind in Jamaica' is a novel about children who are abducted by pirates is to make it seem like a children's book. But that's completely wrong; its theme is actually how heartless children are.

When one is the type of writer who cares about the meaning of the historically specific setting, the history itself is not something that I would call backdrop. It's not window dressing for a timeless relationship about love and betrayal. For me, the setting and the specific history are active co-agents with me in trying to form the novel.

Sometimes, a novel is like a train: the first chapter is a comfortable seat in an attractive carriage, and the narrative speeds up. But there are other sorts of trains, and other sorts of novels. They rush by in the dark; passengers framed in the lighted windows are smiling and enjoying themselves.

When people read a novel 600 pages long, six months pass, and all they will remember are five pages. They don't remember the text - instead, they remember the sensations the text gives them.

In 2013, before the publication of my fourth novel, I met with a stylist at Nordstrom. Since then, I've rarely shopped for 'event clothes' on my own. I usually do it with my sisters or a friend; if I'm alone, I take pictures of myself in the dressing room and text them to my sisters.

At the school I attended, the clergyman who ran the cathedral school in Shanghai would give lines to the boys as a punishment. They expected you to copy out, say, 20 or 30 pages from one of the school texts. But I found that rather than laboriously copying out something from a novel by Charles Dickens, it was easier if I made it up myself.