Novel Quotes

My fellow students there were very smart, but the really novel thing was that they actually seemed to put a lot of effort into their school work. By the end of my first semester there, I began to get into that habit as well.

But compared to writing a novel, where you can be God, I did the Bay of Pigs invasion in six pages once, and there were 50,000 guys with boots that I didn't have to pay, and all those extras; we didn't have to pay them.

I could write an entertaining novel about rejection slips, but I fear it would be overly long.

I knew I'd have to go to work in real estate or something else or I could never finish my novel.

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.

I think the worst and most insidious procrastination for me is research. I will be looking for some bit of fact or figure to include in the novel, and before I know, I've wasted an entire morning delving into that subject matter without a word written.

Novel writing wrecks homes.

I'm not constrained by being a genre writer. Any story I can imagine, I can cast as a fantasy novel and probably get it published.

Am I worried people will say I'm repeating myself? Sure. One thought I had was to publish it as a novel but eventually I just decided to do what I wanted to do.

When I walk up on that shore in Florida, I want millions of those AARP sisters and brothers to look at me and say, 'I'm going to go write that novel I thought it was too late to do. I'm going to go work in Africa on that farm that those people need help at. I'm going to adopt a child. It's not too late, I can still live my dreams.'

I never discuss a novel while I'm writing it, for fear that talking about it will diminish my desire to write it.

My dream was to be known as a writer and to be able to produce at least one book that would be read by people. That dream came true with the publication of my first novel - and all the rest has been a sweet bonus.

In my third novel there is an actual black hole that swallows everything you love.

Perhaps that is why the novel flourished in England. You had these communities that would stay put and people would see one another all the time and cause one another to change and have the opportunity to observe the changes over time.

I always seem to get inspiration and renewed vitality by contact with this great novel land of yours which sticks up out of the Atlantic.

You don't sit up in a cave and write the Great American Novel and know it is utterly superb, and then throw it page by page into the fire. You just don't do that. You send it out. You have to send it out.

Cooper wrote a novel which is absolutely indistinguishable from Austen, completely from a female point of view, completely English, no sense that he was an American.

What I couldn't help noticing was that I learned more about the novel in a morning by trying to write a page of one than I'd learned in seven years or so of trying to write criticism.

All writing is an act of self-exploration. Even a grocery list says something about you; how much more does a novel say?

You no longer have much in the way of knowing what to do in a big, epic novel about the future, because nobody knows what the hell is going to happen.

The theory of founder effects does not explain how novel features like plumage traits arise.

The Little Friend is a long book. It's also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story.

The same parts of my brain get as excited as when I study bio or read a novel and write a paper on it.

A novel usually takes me two years. A year to research and plan and dream. Then a year to write.

There are three rules for writing a novel. Unfortunately, no one knows what they are.

When my first novel was published, I went in great excitement round bookshops in central London to see if they had stocked it.

You know, the point of a novel - or to me, the point of a novel, the gift of a novel is to go really deeply inside people's lives and inside their personal experiences.

Well I think after leaving prison, and having written three diaries about life in prison, it became a sort of a new challenge to write another novel, to write a new novel.

When I do a novel, I don't really use the script, I use the book; when I did Apocalypse Now, I used Heart of Darkness. Novels usually have so much rich material.

The novel, for me, was an accident. I really don't consider myself a novelist.