I've read every one of Donald Goines' books. So as soon as I heard there was an opportunity for one of his novels to be turned into a movie, I jumped at the opportunity.
I like reading novels because it provides insight into human behavior.
I like reading novels because it provides insight into human behavior. I am really interested in feelings and think they are what define us as a species. When you really get it right in acting, it's an act of empathy. You feel less distant from others, and that is really exciting.
In suspense novels even subplots about relationships have to have conflict.
'Pastoralia' by George Saunders is one of my favorite novels.
'Oscar Wao' for example cohered in a period of terrible distress. All the novels that I wanted to write were not happening.
'Drown' was always a hybrid book. It's connected stories - partially a story collection but partially a novel. I always wanted the reader to decide which genre they thought the book belonged to more - story, novel, neither, both.
I know for a fact that - it's just the way our biases work now in the industry of literature, but certainly a short story collection does not receive the same kind of attention as a novel.
My novel, which I had started with such hope shortly after publishing my first book of stories, wouldn't budge past the 75-page mark. Nothing I wrote past page 75 made any kind of sense. Nothing. Which would have been fine if the first 75 pages hadn't been pretty damn cool.
Stories are hard. I have friends who knock out stories on a weekly or monthly basis, like they're running on medicinal-strength Updike. But for me a story is as daunting a prospect as a novel.
Well, when you look at a lot of science fiction novels they're asking questions about power. There are questions about what it means to have power and what are the long-term consequences of power.
Novels are like paintings, specifically watercolors. Every stroke you put down you have to go with. Of course you can rewrite, but the original strokes are still there in the texture of the thing.
It makes more sense to write one big book - a novel or nonfiction narrative - than to write many stories or essays. Into a long, ambitious project you can fit or pour all you possess and learn.
Novels for me are how I find out what's going on in my own head. And so that's a really useful and indeed critical thing to do when you do as many of these other things as I do.
A memoir is always the most authentic telling of a situation, but a novel gets to different places.
Some writers can produce marvelous plots without planning it out, but I can't. In particular I need to know the structure of a novel: what's going to happen in each chapter and each scene.
Sir Walter, with his 61 years of life, although he never wrote a novel until he was over 40, had, fortunately for the world, a longer working career than most of his brethren.
If you invent something, you're doing a creative act. It's like writing a novel or composing music. You put your heart and soul into it, and money. It's years of your life, it's your house remortgaged, huge emotional investment and financial investment.
"The Lucky One" is at its heart a romance novel, elevated however by Nicholas Sparks' persuasive storytelling. Readers don't read his books because they're true, but because they ought to be true.
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.
As an adolescent I wrote comic books, because I read lots of them, and fantasy novels set in Malaysia and Central Africa.
I feel that I am a scholar who only with the left hand writes novels.
I think of myself as a serious professor who, during the weekend, writes novels.
Certainly, light fiction exists and encompasses mysteries or second-class romance novels, books that are read on the beach, whose only aim is to entertain. These books are not concerned with style or creativity - instead they are successful because they are repetitive and follow a template that readers enjoy.
Does the novel have to deepen the psychology of its heroes? Certainly the modern novel does, but the ancient legends did not do the same. Oedipus' psychology was deduced by Aeschylus or Freud, but the character is simply there, fixed in a pure and terribly disquieting state.
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