I did not know at first that it would be a series; I discovered after the first novel that I had more to say about it, so I did another. And another, and then the readers demanded yet more.
I do one Xanth novel a year, because at the moment that is all that publishers will accept; they don't want any other type of fiction from me, so Xanth pays my way.
I hope to read a Harry Potter novel soon, to see what it's all about. I admit to being annoyed that many good light fantasy writers have had trouble getting published, in England and elsewhere, when it is obvious the readers were waiting for us all along.
I don't think the relationship between novels and realities are one to one. Of course novels play different roles. It's essentially just a long narrative form. What you use that long narrative form for can be very different.
I was once a graduate student in Victorian literature, and I believe as the Victorian novelists did, that a novel isn't simply a vehicle for private expression, but that it also exists for social examination. I firmly believe this.
Hemingway is terribly limited. His technique is good for short stories, for people who meet once in a bar very late at night, but do not enter into relations. But not for the novel.
For me a paragraph in a novel is a bit like a line in a poem. It has its own shape, its own music, its own integrity.
I started out in life as a poet, I was only writing poetry all through my 20s, it wasn't until I was about 30 that I got serious about writing prose. While I was writing poems, I would often divert myself by reading detective novels, I liked them.
Movies are not novels, and that's why, when filmmakers try to adapt novels, particularly long or complex novels, the result is almost always failure. It can't be done.
I keep thinking I'll enjoy suspense novels, and sometimes I do. I've read about 20 Dick Francis novels.
Writing a novel is one of those modern rites of passage, I think, that lead us from an innocent world of contentment, drunkenness, and good humor, to a state of chronic edginess and the perpetual scanning of bank statements.
The novel is resilient, and so are novelists.
I feel like my brain is more geared towards a novel than it is to a movie.
At Oxford University, I studied languages so I could read the great novels as they were originally written. I took what in the United States would be a double major in Russian and French, but I have to admit that the pressure of getting through so many books spoiled reading for me.
Words are so often used in the opposite sense, as a screen of diversion. It's the struggle towards truthfulness which is the same whether one is writing a poem, a novel or an argument.
I'm skeptical that the novel will be 're-invented.'
The central problem of novel-writing is causality.
I was uncomfortable writing fiction. My love was the personal essay rather than the novel.
Doing graphic novels is cool! It's fun! You get to write something, and then see it visually page by page, panel by panel, working with the artist, you get to see it fleshed out.
If a theme or idea is too near the surface, the novel becomes simply a tract illustrating an idea.
Writing novels preserves you in a state of innocence - a lot passes you by - simply because your attention is otherwise diverted.
Because I worked as a newspaper reporter for about 14 years before attempting my first novel, I learned to write under almost any circumstances- by candle light, in longhand, in African villages where there was no power, under shelling in Kurdistan.
Hollywood called just as I crested thirty. My novels did not and still do not interest them, but my writing ability did.
If you like my novels, I commend your good taste.
The rise to prominence of the Saudi novel in Arabic is the great man-bites-dog of recent world literature. Saudi Arabia is a country without a free press, where European styles and forms are distrusted and where the female half of the population became literate only in this generation.
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