The end of secrecy would be the end of the novel - especially the English novel. The English novel requires social secrecy, personal secrecy.
I actually find novels that are determined to be funny at every turn quite oppressive.
For me, novels coalesce into being, rather than arrive fully formed.
I'm a novelist, that's how I make my livelihood, and I concentrate on the novels.
Writers of novels and romance in general bring a double loss to their readers; robbing them of their time and money; representing men, manners, and things, that never have been, or are likely to be.
I don't read that many novels, I'm more of a nonfiction fan.
In many ways, my entire graphic novel career was a long diversion. Originally, all I wanted to do was to be an underground cartoonist and maybe bring out a groovy underground mag.
People have asked me why I made the first chapter of my first novel so long, and in an invented English. The only answer I can come up with that satisfies me is, 'To keep out the scum.'
I binge write. I think it's because I started seriously writing by participating in National Novel Writing Month, an online-based challenge to write 50,000 words in 30 days.
Characters are the key to a good book. It took me several novels to comprehend that.
Whenever I write a novel, music just sort of naturally slips in (much like cats do, I suppose).
You have to be practical. So every time I say, if you want to write a novel you have to be practical, people get bored. They are disappointed. They are expecting a more dynamic, creative, artistic thing to say. What I want to say is: you have to be practical.
A fortunate author can write maybe twelve novels in his lifetime.
I could have been a cult writer if I'd kept writing surrealistic novels. But I wanted to break into the mainstream, so I had to prove that I could write a realistic book.
It's true that at the time I was fond of Kurt Vonnegut and Richard Brautigan, and it was from them that I learned about this kind of simple, swift-paced style, but the main reason for the style of my first novel is that I simply did not have the time to write sustained prose.
Since I have come to America, I am often asked whether my next novel will be set in America. I don't think it will. I think I will be living in America for some time to come, but while living in America, I would like to write about Japanese society from the outside.
When I was a teenager, I thought how great it would be if only I could write novels in English. I had the feeling that I would be able to express my emotions so much more directly than if I wrote in Japanese.
Turning one's novel into a movie script is rather like making a series of sketches for a painting that has long ago been finished and framed.
I have often noticed that after I had bestowed on the characters of my novels some treasured item of my past, it would pine away in the artificial world where I had so abruptly placed it.
If you write a novel alone you sit and you weave a little narrative. And it's O.K., but it's of no account.
I've loved 'Vanity Fair' since I was 16 years old. You know, we're all colonial hangovers in India, steeped in English literature. It is one of these novels that I read under the covers at my convent boarding school in Simla.
For a Jewish Puritan of the middle class, the novel is serious, the novel is work, the novel is conscientious application why, the novel is practically the retail business all over again.
I have questioned myself about the brutality in the last few novels. Actually in The Leopard, in hindsight, I feel I went a little bit too far with screaming blood. There are a couple of scenes that I regret and wish I had the chance to rewrite. Phantom has less blood.
Writing a novel is a terrible experience, during which the hair often falls out and the teeth decay.
Writing a novel is an act of self-annihilation as much as self-discovery. You can kill whole appetites and flood whole depths while plumbing them, but if you are serious about it you also get to put something into the world that wasn't quite there before.
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