[ Lady Susan novel by Jane Austen is] extremely difficult to adapt. I worked on it for years, for, like, ten years, before I started showing it to people. This was my back-burner project.
A part of that [timewrap] for me was growing up in a culture that violence had always been a part of. It wasn't an aberration, though I realize that in retrospect. I grew up in the part of the U.S. where all of Cormac McCarthy's novels are set and that's a pretty violent place.
Jim Harrison is someone I always enjoy, one of the great contemporary writers. I like Tim Ferris' Big Boom Theory. I'm getting into a different kind of reading, not straight novels.
A novel is a performance you have to plan.
I turned to the Partition experiences, which were churning in my mind. Then came my first novel Train to Pakistan.
I am concerned that people who admire [Ayn] Rand are not often critical enough of the extent to which she has abridged the implications of [her] novels.
A novel may take anywhere from two to five years to write and, in the end, you might manage a couple of thousand dollars on it, no more.
I try to write in the morning when I'm working on a novel. You get up, you have breakfast, you read the paper, you make a couple of phone calls, and then you sit on the couch and start. I use felt pen and white notepaper.
I don't know what people think they're trying to do with literary novels, but they're trying to do something. They're trying to change the world, although that's so crazy. That's just delusional. But I recognize that it's crazy. It will be a little dinky change.
My job on The Gunslinger Born was to take Stephen King's novel and transform it into a detailed, seven issue, scene-by-scene story.
As you know, transforming such a big book [The Gunslinger Born] into graphic novel format is really a process of translation.
In order to capture Mid-World for new readers, I had to streamline the original tale [ The Gunslinger Born], but I also had to incorporate scenes from earlier Dark Tower novels.
I suppose that, for me at least, the biggest difference betweenThe Gunslinger Born and the next two story arcs (The Long Road Home and Treachery), is that while Gunslinger Bornwas a translation of an existing novel, the next two arcs are really the stories that I've been weaving since I first started working with Steve King on the Dark Tower back in 2000/2001.
In the earlier novels, Steve King tells us that John Farson, and perhaps even the Crimson King himself, are but other names and faces that belong to Walter O'Dim. However, in The Dark Tower, he tells us very clearly that Walter, John Farson, and the Crimson King are actually separate individuals.
Reading a good poem can give me a far bigger kick than a novel. But it's not something I can keep doing. It would be like shooting up 10 times a day.
I'm working on a young adult novel. I've been working on it for a while, because I don't know how to write a novel and I'm teaching myself. For that reason, I've been reading a lot of YA [young adults], which I never have before. It's totally new to me.
Sometimes someone will tell me about an author I've never heard of before and that will send me to that person. That's how I discovered Thomas Bernhard, an Austrian novelist whose novels tend to be one long rant.
From the beginning [of the Lincoln in the Bardo], I actually had it in mind not to write a novel. I'd kind of gotten past that point where I felt bad for never having written a novel, even to where I felt really good about it, like I was a real purist.
What was fun for me with this book [Lincoln in the Bardo] was to start out with the principle that went, "We're going to fight every day to make this not a novel; make it too short to be a novel." And then with that principle in place, the book sort of starts to say, "Okay, but I really need this. I really need some historical nuggets." And you're like, "All right, but keep it under control."
Maybe you could even think 100,000 people are inside each human being. And you drop a novel on that person, and a certain number of those sub-people come alive or get reenergized for some finite time.
First of all, all writing includes some part of the self. The relationship of the self and the other exists in writing, whether autobiographical or novel. There is a self and an other.
Novels and stories are sometimes very complex staging grounds to say, in fact, very simple things. Things impossible to say otherwise because they are repeated in so many exploitative contexts - adverts and TV shows and political speeches.
One thing you learn about the novel as a form is that it's always smarter than you are.
The novel leads you places that you never could have gotten to otherwise.
I never bought the idea of individual genius from which the novel spews forth. It's always an act of curation.
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