Quotes About Novel

I remain a fan of my friend Bret Easton Ellis's 'American Psycho.' I think as a book about New York in the '80s it was pretty excellent.

Five years before 'Kitchen Confidential' - and before then, the 'New Yorker' essay that led to the book - Bourdain published 'A Bone in the Throat,' a crime novel set in the restaurant world he lived and breathed.

Writing a novel - unlike operating a piece of heavy machinery, say, or cooking a chicken - is not a skill that can be taught. There is no standard way of doing it, just as there is no means of telling, while you're doing it, whether you're doing it well or badly. And merely because you've done it well once doesn't mean you can do it well again.

My foray into young adult lit was by no means planned. I wrote the first 'Alfred Kropp' book as an adult novel, which everyone loved but no one would publish - until I changed my protagonist from a thirty-something P.I. into a 15-year-old kid. After that, it was off to the races, and I am so glad.

Any time a young adult book throws a girl and a guy together, the clock starts running on the countdown to the kiss.

I have boys, and boys are particularly resistant to reading books. I had some success recently with Sherman Alexie's great young adult novel 'The Absolutely True Diary Of A Part-Time Indian.' I told my son it was highly inappropriate for him and one of the most banned books in America. That got his attention, and he raced through it.

I used the second year of my MFA program to write a young adult novel and began pursuing picture books as well. I loved the economy of this art form, choosing, with pristine attention, the exact right words to tell the exact right story.

People in the know say 'The Giver' was the first young adult dystopian novel.

I am not only the person who wrote and sold a novel while raising a houseful of biological and foster children; I am also the person who wrote a horrific young adult novel that never sold and gave up on a foster child I couldn't handle - an experience that still haunts me.

With few exceptions, the publishing industry has come to a consensus: if a book has a young protagonist, and if its worldview is primarily interested in the questions that crop up when coming of age, then it's a young adult novel.

I suspect that authors who start their careers writing for an adult audience - and who eventually produce a young adult novel or two - are more common than authors who begin by writing for young adults and who then gravitate toward composing something for an adult audience.

After I had written more than a dozen adult genre novels, an editor I knew in New York asked me to write a mystery for young adults.

After starting as a journalist for newspapers and magazines, I began to write books and had success with a novel and four nonfiction books for young adults.

I had never thought about writing a novel. But I had two young kids, and I realized that if I could write a novel, I could work at home.

When I was submitting my first novel, I had no idea that publishing scams existed. I never encountered any, but I could have - and knowing how easily I might have been taken advantage of makes me determined to protect others from falling into that trap.

In most espionage novels, the characters risk their lives trying to save somebody or while protecting a nation from some threat. In 'The Travelers,' that's not what's going on. I used espionage as a device to heighten the characters' personal dramas.

The business of writing a novel is a long, meandering road into the self, into the imagination. And it's a road the writer travels alone.

I'm a firm believer in stories with arcs and beginnings and endings and all that. 'Scott Pilgrim' is sort of one long novel, and it's so long that I get confused and sort of tread water sometimes. But there's definitely a goal to it. People who just dismiss it as shallow, that's their prerogative, but it's not really my intent.

I think 'Gatsby' is hobbled, in part, by its status as a Great American Novel. People kind of roll their eyes before they've even opened it, treat it with a 'been there, done that' attitude. I know I did. It took me years to re-open the novel and see how much I'd missed.

I have no favourite genre or style but treat each novel with the same care, imagination and craftsmanship. It's as difficult to write a crime or a children's novel with a touch of style and grace as it is a literary novel.

I like writing dialog but don't think I'd be much good at a screenplay. I once had to write a treatment for a novel of mine - a condition of its being optioned by a movie producer - and I turned out something pretty lackluster. So my inclination would be to stay out of the way of an experienced screenwriter.

Then about 1951 I began writing again, painfully, a novel I called in the beginning A Life Sentence on Earth, but which developed into The Tree of Man.

I would come, many years later, to understand why 'To Kill A Mockingbird' is considered 'an important novel', but when I first read it at 11, I was simply absorbed by the way it evoked the mysteries of childhood, of treasures discovered in trees, and games played with an exotic summer friend.

One might say that the novel is the genre that most predisposes one to a profound insight into the tremendous life around us, instead of putting forward one's own tiny ego as the centre of the universe.