Quotes on Novel

English writing tends to fall into two categories - the big, baggy epic novel or the fairly controlled, tidy novel. For a long time, I was a fan of the big, baggy novel, but there's definitely an advantage to having a little bit more control.

Certainly the determining acts of her life were not ideally beautiful. They were the mixed result of young and novel impulse struggling amidst the conditions of an imperfect social state, in which great feelings will often take the aspect of error, and great faith the aspect of illusion.

Growing up devouring horror comics and novels, and being inspired to become a writer because of horror novels, movies, and comic books, I always knew I was going to write a horror novel.

My son, Wolf, was born when I was past 40 and the author of a best-selling novel. That means he has grown up a middle-class child - one who sometimes asks me for stories of my childhood but knows nothing of what it means to grow up poor and afraid. I have worked to make sure of that.

One of the things that happens in novels it's almost like a continual debate with yourself. That's why you're writing the book. It's why you create characters: so you can argue with yourself.

I wrote the first draft of my first novel at Michigan, and then I wrote the first draft of 'Salvage the Bones' at Stanford. So I workshopped the entire thing.

Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.

A good novel tells us the truth about its hero; but a bad novel tells us the truth about its author.

I'm a failed poet. Maybe every novelist wants to write poetry first, finds he can't, and then tries the short story, which is the most demanding form after poetry. And, failing at that, only then does he take up novel writing.

I don't take notes. I don't have any notebooks. I keep on trying to do that because it seems like a very writerly thing to do, but my mind doesn't work that way. I tend to get the idea for a novel in a big splash.

Plot is a map and I begin with it. It is what made me admire the novels of the 19th century; that the stories are foreshadowed. TheyÕre going someplace.

'The Accursed' is very much a novel about social injustice as the consequence of the terrible, tragic division of classes - the exploitation not only of poor and immigrant workers but of their young children in factories and mills - and as the consequence of race hatred in the aftermath of the Civil War and the freeing of the slaves.

Having the urge to write a novel, especially if you've yet to be published, is like having a medical condition impossible to mention in polite company - it's a relief simply to know there are fellow-sufferers out there.

The bourgeois novel is the greatest enemy of truth and honesty that was ever invented. It's a vast, sentimentalizing structure that reassures the reader, and at every point, offers the comfort of secure moral frameworks and recognizable characters.

For men, as a rule, love is but an episode which takes place among the other affairs of the day, and the emphasis laid on it in novels gives it an importance which is untrue to life. There are few men to whom it is the most important thing in the world, and they are not the very interesting ones; even women, with whom the subject is of paramount interest, have a contempt for them.

Only in the mystery novel are we delivered final and unquestionable solutions. The joke to me is that fiction gives you a truth that reality can't deliver.

The Florida in my novels is not as seedy as the real Florida. It's hard to stay ahead of the curve. Every time I write a scene that I think is the sickest thing I have ever dreamed up, it is surpassed by something that happens in real life.

Race is the true protagonist of the American novel. Our most popular classic fictions have known this, from 'Moby Dick' to 'Beloved;' all these books take on race or talk it out, often in other forms; they are less 'horror stories for boys' than ghost stories from a haunted conscience.

The experience of writing 'The Kite Runner' is one I will always think back on with fondness. There is an energy, a romance in writing the first novel that can never be duplicated again.

I believe there are two ways of writing novels. One is mine, making a sort of musical comedy without music and ignoring real life altogether; the other is going right deep down into life and not caring a damn.

I strongly believe that the art of the novel works best when the writer identifies with whoever he or she is writing about. Novels in the end are based on the human capacity, compassion, and I can show more compassion to my characters if I write in a first person singular.