The novel is resilient, and so are novelists.
If you want to understand human beings, there are plenty of people to go to besides psychologists.... Most of these people are incapable of communicating their knowledge, but those who can communicate it are novelists. They are good novelists precisely because they are good psychologists.
I think, if you want to grow a novelist, for that person to have a lot of boring time trying to entertain themselves is very important.
In terms of style, I think the memoirist should have a novelist's skill and all the elements of a novelist's toolbox. When I read a memoir, I want to really, deeply experience what the author experienced. I want to see the characters and hear the way they speak and understand how they think. And so in that way, writing a memoir feels similar to writing a novel.
I couldn't be a novelist for instance. It feels like a very lonely endeavor. I don't know that I could survive the solitude of that.
Obviously cheap sentimentality isn't something any good novelist wants to traffic in, but I think it's a problem if you consider it to be the most egregious of all creative sins. I think it's a problem if you consider it the thing to be avoided at all cost. I think it's a problem of you're not willing to risk the consequences of that kind of emotionalism under any circumstances. Then you wind up in the cul-de-sac of irony.
My job as the novelist is to present the whole case, then the reader gets to render her verdict.
When a novelist manages to describe or evoke something you thought or felt, without realizing that other people also found themselves in the same situation and had the same feelings, it creates that same solidarity. Maybe it's better to think of humor not as a tool to express the solidarity, but a kind of by-product. Maybe the realization "I'm not on my own on this one" is always, or often, funny.
At the meeting you behaves exactly as Marathi novelists of the last century tell is husbands do in sari shops.
Art is created to make us, to make our passage through the world better, fruitful - and I would say that every story in the end, if it is good, tells us something. This is actually what I meant when I said a novelist is a teacher. Which is why I am constantly dealing with "didactic". Now a teacher in the sense I use it is not somebody who has the profession of standing in front of children, with a piece of chalk in his hand scribbling on the blackboard. That is not the teacher I have in mind. The teacher I have in mind is something less tangible.
A man I know who writes and aspires to be a novelist does very little reading, and he's not that successful. But I think it's because he's like the kid who wants to be a ballplayer and never goes to the ballpark or tries to hit a ball. So I'd say reading is the most important thing that I do, besides the actual writing. I'm always asking as I read, "How did the writer do this? Why do I suddenly have tears in my eyes? Why am I crying?"
I'm not a reader of young adult fiction for the simple reason that these novelists are writing for adolescents, so they are not writing for me.
I feel like the reason I ended up becoming a playwright is because I never choose the right word. As a kid, my fantasy profession was to be a novelist. But the thing about writing prose - and maybe great prose writers don't feel this way - but I always felt it was about choosing words. I was always like, "I have to choose the perfect word." And then it would kill me, and I would choose the wrong word or I would choose too many perfect words - I wrote really purple prose.
In the end, of course, all novelists will be judged by their novels, but let's not forget that we will also need new ways of assessing the latter. There are people who will continue to write nineteenth-century novels in the early twenty-first, and even win major prizes for them, but that's not very interesting, intellectually or emotionally.
Dickens didn't have access to any other epistemologies other than those prevailing in Britain. But a novelist today cannot plausibly claim ignorance of his society's manifold connections with the wider world, the fact that prosperity and security at home, for instance, often depend on extensive violence and exploitation abroad.
I certainly wake up every morning and thank God that I'm not a novelist because the theater is tough, but novel writing is infinitely harder. Especially with the economics of serious fiction being what they are in America.
I don't want to name names because they'd be mad at me if I did, but people who are significant novelists can't get published by real publishers at this point, or have to go through two years of trying after writing a novel that's taken them five or six years and simply can't get the thing in print. Or it gets in print and it doesn't get reviewed in the New York Times Book Review and disappears without a trace. I mean, it's terrifying. I don't know how anybody can stand it. It's such an enormous amount of work and the economics of it are really quite brutal.
Stories in which the destruction of society occurs are explorations of social fears and issues that filmmakers, novelists, playwrights, painters have been examining for a long time.
Novelists are stamina merchants, grinders, nine-to-fivers, and their career curves follow the usual arc of human endeavour.
Once upon a time, novelists of the 19th century, such as Charles Dickens, published in serial form.
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.
Kingsley Amis was one of a trio of brilliant comic novelists who made English literature sparkle in the twentieth century.
Dostoevsky is such a bad writer it is hard to take him seriously as a novelist, though he is a wonderful philosopher.
With a novelist, like a surgeon, you have to get a feeling that you've fallen into good hands - someone from whom you can accept the anesthetic with confidence.
And when I'd be reporting in Israel, Palestinians would say, the Jews they're not like us, and the Jews would say the same things about the Palestinians, they don't want what we want. And I never bought it as a reporter and I don't buy it as a novelist. I think, you know, the sound of somebody crying for their lost child sounds the same.
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