I'm a novelist who read a lot as a kid. When you grow up on books and then grow up to write books, famous authors are a lot more meaningful to you than TV and movie stars.
When it [truth] emerges it often bears out the saying that 'truth is stranger than fiction.' A novelist has to appear plausible, and would hesitate to make use of such astounding contradictions as occur in history through some extraordinary accident or twist of psychology .
There is a part of me in every character, naturally. That's why novelists rarely write good autobiographies. You start one and it becomes another novel.
The only excuse for a novelist, aside from the entertainment and vicarious living his books give the people who read them, is as a sort of second-class historian of the age he lives in. The "reality" he missed by writing about imaginary people, he gains by being able to build a reality more nearly out of his own factual experience than a plain historian or biographer can.
The business of a novelist is, in my opinion, to create characters first and foremost, and then to set them in the snarl of the human currents of his time, so that there results an accurate permanent record of a phase of history.
It may happen in the next hundred years that the English novelists of the present day will come to be valued as we now value the artists and craftsmen of the late eighteenth century.
I'm more influenced by novelists than I am by filmmakers.
Great novelists are philosopher novelists - that is, the contrary of thesis-writers.
I think novelists perform many useful tasks for their fellow citizens, but one of the most valuable is this: to enable us to see ourselves as others see us.
Age could not wither nor custom stale her infinite monotony: in fact, neither Age nor Custom could do anything (as they said, their voices rising) with the American novelist Gertrude Johnson.
How can we expect novelists to be moral, when their trade forces them to treat every end they meet as no more than an imperfect means to a novel?
Novelists are people who have discovered that they can dampen their neuroses by writing make-believe. We will keep on doing that no matter what, while offering loftier explanations.
Novelists should never allow themselves to weary of the study of real life.
It's so easy to get into the same routine. A novel every two years; perhaps, improving technique. But I'm not interested in that. I'm interested in doing something fundamentally important--and therefore, it needs time. And what I've been doing, really, is avoiding this pressure to get into the habit of one novel a year. This is what is expected of novelists. And I have never been really too much concerned with doing what is expected of novelists, or writers, or artists. I want to do what I believe is important.
The thought of the novelist lies not in the remarks of his characters or even in their introspection but in the plight he has invented for his characters - in the juxtaposition of those characters and in the lifelike ramifications of the ensemble they make: their density, their substantiality, their lived existence actualized in all its nuanced particulars, is in fact his thought metabolized.
It is well to start by distinguishing the few really great - the major novelists who count in the same way as the major poets, in the sense that they not only change the possibilities of the art for practitioners and readers, but that they are significant in terms of the human awareness they promote; awareness of the possibilities of life.
A novelist who ranks with Proust , Kafka , Musil and his friend James Joyce as one of the enduring pillars of Modernism.
I'm a novelist at heart. How's that? And that's how I make my living, is I write novels.
The higher processes are all processes of simplification. The novelist must learn to write, and then he must unlearn it; just as the modern painter learns to draw, and then learns when utterly to disregard his accomplishment, when to subordinate it to a higher and truer effect.
Children make better readers than adults. They read as carefully as I write; adults read as a means of getting off to sleep. I get letters saying 'I have read your book seventeen times.' If you're an adult novelist and you get that letter, you should be afraid. You're being stalked. Kids always read them seventeen times!
Predictions are uttered by prophets (free of charge); by clairvoyants (who usually charge a fee, and are therefore more honored in their day than prophets); and by futurologists (salaried). Prediction is the business of prophets, clairvoyants, and futurologists. It is not the business of novelists. A novelist's business is lying.
Usually when I drank too much, I could guess why I did so, the objective being to murder a state of consciousness that I didn't have the courage to sustain--a fear of heights, which sometimes during the carnival of the 1960s accompanied my attempts to transform the bourgeois journalist into an avant-garde novelist. The stepped-up ambition was a commonplace among the would-be William Faulkners of my generation; nearly always it resulted in commercial failure and literary embarrassment.
Our father the novelist; my husband the poet. He belongs to the ages - just don't catch him at breakfast. Artists, celebrated for their humanity, they turn out to be scarcely human at all.
Proust was the greatest novelist of the twentieth century, just as Tolstoy was in the nineteenth.
The most original novelist now writing in English.
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