Not until my middle thirties did I consider myself a novelist.
One of the admirable features of British novelists is that they have no scruple about setting their stories in foreign settings with wholly foreign personnel.
I am not an academic who happens to have written a novel. I am a novelist who happens to be quite good academically.
I hated being a novelist when I was 20 - I had nothing to write about.
Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from and they're also relying tremendously on the creative imagination of the reader.
I was going to be a great woman novelist. Then the war came along and I think it's hard for young people today, don't you, to realize that when World War II happened we were dying to go and help our country.
That's what a good crime novelist - any good novelist - should do with you: play with your perceptions while showing you everything in plain sight.
Without a doubt, I was born to want to make cinema, but the kind of cinema I want to make is not like commercial movies, which I enjoy myself, but I wanted to be the kind of filmmaker who wrote original work, sort of like a novelist would who deals with who we are and our times or our relationships.
I'm a novelist, not a social scientist or a commentator.
I'm inspired by playwrights, novelists, poets: The value of language has been a lifelong passion of mine. I enjoy it. I'm good at it.
I thought I wanted to be a journalist or a novelist.
Well I'm not a novelist. I've only written one book and that is a memoir.
My greatest fear is feeling like a professional novelist. Somebody who creates characters, who sits down and has pieces of paper taped to the wall - what's going to happen in this scene, or this act. What I like is for it to be a much more scary, sloppy reflection of who I am.
I suspect there are two kinds of novelists. Those who have a point of view and have something to say and then write a novel in order to say that thing, and those of us who write the book in order to find out what we think about that thing.
I started writing short fiction very briefly, as I imagine is the case for some novelists.
I assume that - because you can get degrees in journalism from very reputable universities - I assume that people can be trained to be journalists. I've never been entirely certain that anyone can be trained to be a novelist in the same way.
The economy of a novelist is a little like that of a careful housewife who is unwilling to throw away anything that might perhaps serve its turn.
I am not much of a researcher as a novelist; I write mainly from experience.
For a novelist, it's kind of an onerous burden to represent an entire culture.
I like novelists who can create other interesting worlds.
I know I'm a rare person, a trained scientist who writes fiction, because so few contemporary novelists engage with science.
Being a novelist and being a mother have exactly coincided in my life: the call from my agent saying that I had a contract for my first novel - that was on my answering phone message when I got back from the hospital with my first child.
The novelist teaches the reader to comprehend the world as a question. There is wisdom and tolerance in that attitude. In a world built on sacrosanct certainties the novel is dead.
If a person is not talented enough to be a novelist, not smart enough to be a lawyer, and his hands are too shaky to perform operations, he becomes a journalist.
I was a novelist first. But in the mid 80s, I did work in television for ten years. And yes, that was frequently the reaction to my scripts. People would say, you know, George, this is great. We love it, a terrific script, but it would cost five times our budget to shoot this.
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