Novels written with film contracts in mind have a faint but unmistakable, and ruinous, odor.
When a novel comes, it's a grace. Something in the cosmos has forgiven you long enough so that you can start.
The novel wins by points, the short story by knockout.
The novel is a game or joke shared between author and reader.
An old novel has a history of its own.
I've published several virtually invisible novels and several dozen even more invisible short stories over the years, all of which give me joy - unlike the cumulative experience of seeking publishers for them!
I've heard Stephen King say that when you write a novel you end up revealing everything about yourself.
I don't talk about my books while I'm writing them: not even my husband knows what a novel's about until it's done.
Usually, ordinary histories don't get the emotional feel of a period. That's what a novel can do.
My novels are very much the same, as I think many people's novels are.
I'm not reading any novels right now, though not for lack of trying. Unless they're really good, my attention in most novels tends to sputter out after a hundred pages or so - an awful admission for someone who is trying to write one, but it's true.
I'd always hoped to write the story as a novel, but there was a long period when the [Bridget Jones's Baby: The Diaries] movie was stalled and in confusion. I felt frustrated creatively, and just couldn't work on the Baby material till the movie was sorted out.
That's when the idea for Mad About the Boy arrived. It wasn't even a Bridget [Jones] story initially - then I realized I was writing in Bridget's voice and it grew from there into a Bridget novel.
I got into my usual obsessive writing frenzy, using all the material I'd worked on for so long and crafting it into a little novel [Bridget Jones's Baby: The Diaries].
My idea of a good novel was one you made enough money out of to buy a greenhouse.
A police procedural novel can be even funnier if the police include Trolls and Dwarves and things like that. You start looking at the whole basis of the cop novel. You get the cop moving in a different way when you've actually set it in a fantasy city.
People don't like to say comic so they say Graphic Novel, despite the fact that I don't think the true Graphic Novel has been written anywhere.
I have a suspicion - I have to be careful what I say - that you might actually find the best comics actually written by people who are comics writers and who aren't setting out to do graphic novels.
I mistrust the term graphic novel because it sounds like a good thing to put on a tee-shirt. That's why the French like them.
From beginning to end, the novel [Dissemblers] took about three and a half years to write. I didn't write it chronologically.
I knew the basic outline of the novel [The Dissemblers] and would write whatever scene of the book I felt particularly excited about at the time.
This was my first novel [The Dissemblers ]. I've never seriously written short stories, and actually find short stories much more intimidating as an art form than novels.
I'm working on a novel about a girl who grows up in the circus and her relationship with her father, who grew up in Hungary when it was under Soviet control and left during the 1956 revolution. It is told from both of their perspectives, and has been a joy (and very frustrating) to research and write. Needless to say, I am very excited about my next project!
I think I'm succinct to the point of trying to write the two-word novel. Editing my work almost never means taking anything out but rather adding, because I'm always stripping down. I tend to under-write rather than over-write.
One of the most difficult things in writing a novel or anything at all is to choose the point of view from which it's going to be told.
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