Novels Quotations | Page 4

Authors can easily produce ebook versions of novels and shorter work which publishers don't own.

Young adult novels don't shy away from the discussion of weight issues, and 'Blubber,' the tale of an overweight, not-so-sympathetic fifth-grader bullied by her peers, is a refreshing take.

The way that I write novels in particular is I don't usually outline; I just write. Part of the fun is discovering what's happening in the story as I'm going along.

Although I now spend most of my time writing novels for teenagers and adults, 'readaloudability' is still a criterion I try to adhere to.

There must be a dozen films now based on Philip K. Dick novels or stories, far more than any other published science fiction writer. He's sort of become the go-to guy for weird science fiction notions.

This is the image from which he was born...... Characters are not born, like people, of woman; they are born of a situation, a sentence, a metaphor, containing in a nutshell a basic human possibility......the characters in my novels are my own unrealized possibilities. That is why I am equally fond of them and equally horrified by them......

There's an expectation these days that novels - like any other consumer product - should be made on a production line, with one dropping from the conveyor belt every couple of years.

As new technology emerges as the greatest challenge to novels since the advent of film, it may be that the fragmentation of storytelling into installments key to Dickens's era will be recreated in some way.

It's expected of novels that they should explain the world and create the illusion that things are ultimately logical and coherent. But that's not what I see around me. Often, events remain mysterious and unresolved, and our emotions reach no catharsis.

It seems to me that the novel as a medium has a very low signal-to-noise ratio. By which I mean: there are a lot of novels published, but the vast majority of them don't represent major contributions to the medium.

It was interesting to write directly about what things meant to me. A lot of the art of writing novels is in telling things by implication.

It is very difficult to talk about plagiarism in terms of themes between novels. Otherwise there wouldn't be that many novels written because everyone feeds off everybody else.

I tried to write a more modern, edgier version of the big blockbuster novels I enjoyed reading as a teenager, and a lot of those were family epics with broad, sweeping themes,

I traded in textbooks for novels in three of my advanced public relations classes. Even though the stories are fiction, the characters and plot can reinforce theories, ethics and the realities of working in a career such as public relations.

The nineteenth century novels came from a time when there was no television and people had time to read novels in three volumes.

The novels put advanced students in the shoes of a fictional professional.

The book I made it big with in the U.S. was my fourth book, 'Sanctum.' My novels sell really well both there and in Canada, so once a year I do a promotional tour, visiting a different city every two days, doing book readings and signings.

I've had over a dozen and a half novels published since late 1994 when my first novel, 'Brother to Dragons, Companion to Owls' came out.

I've had a dozen novels published and have made far more than a dozen mistakes. Which is why Randy Susan Meyers and I wrote a guidebook to help authors avoid making our mistakes.

I've done a lot of books with Asian antecedents to them - some of my fantasy novels have been that way, and certainly in the 'Battletech' universe, there's a lot of Asian culture in that.

It takes me an hour or so to knock up an article, so if I can't sell it it's no big deal. But with a novel, you're invested, emotionally, materially and in every way, so the stakes are a lot higher. But novels are a lot more fun to write, no doubt about it,

Not to disparage anything, but most vampire stories tend to be romance novels that are 'Twilight'-ish with metrosexual guys.

Seriously, you know - I love to write. I enjoy the process; I enjoy the different processes, because writing for film and television and graphic novels is all very different. So I've never had the feeling of, 'Oh, you have to do this one thing.'

I love research. Sometimes I think writing novels is just an excuse to allow myself this leisurely time of getting to know a period and reading its books and watching its films. I see it as a real treat.

I love epistolary novels and became wildly excited when the form presented itself to me.

I'm very bad at violence in real life. I can't stand it. And I'm so fed up with crime novels that have too much violence. I can't really do it. It's unnecessary.

I'm sure there are any number of Hollywood producers who option novels and think, 'maybe this would make a good opera,

I'm very critical of crime novels that use gratuitous violence to shock readers when it isn't necessary. If that's all you have to offer as a writer, perhaps you're in the wrong job.

In high school, my English teacher Celeste McMenamin introduced me to the great novels and Shakespeare and taught me how to write. Essays, poetry, critical analysis. Writing is a skill that was painful then but a love of mine now.

I knew I wanted the ending of the story to be poignant and heart-felt, and secondly, because I didn't know if I would be able to do that, since my previous novels hadn't been good enough to publish. If I couldn't do it, I didn't want to waste my time writing the rest of the novel, knowing it would collapse at the end.

I had never read Victorian novels before going overseas. I read a handful of authors, but I had not immersed myself in the literature of the 19th century.

I never could read science fiction. I was just uninterested in it. And you know, I don't like to read novels where the hero just goes beyond what I think could exist. And it doesn't interest me because I'm not learning anything about something I'll actually have to deal with.

I must say, it was a lot easier writing novels than I thought it would be. I think it's because I'm a novelist at heart, and it took me a while to figure that out.

I like to take people you wouldn't really think people would write novels about: an aqueduct engineer, a code-breaker, a hedge-fund manager. It's in those sorts of lives that I find more fascination than in a CIA operative or a Marine or something like that.

I'm a severe graphic novels junkie. People ask me about it, and I say I like the graphic novels. Comic books are for kids, and graphic novels are for adults. But you can't really separate the two.

If you read novels of the 19th century, they're pretty experimental. They take lots of chances; they seem to break a lot of rules. You've got omniscient narrators lecturing at times to the reader in first person. If you go back to the earliest novels, this is happening to a wild extent, like 'Tristram Shandy' or 'Don Quixote'.

Interest in graphic novels has exploded, and for good reason ... A new generation of outstanding authors and artists is exploring the form in ways that reach far beyond traditional ideas of the comic book. And a new generation of readers raised on a visual world of movies, TV and video games have adopted the form as their own.

In novels, and American novels in particular, it's not just about redemption, it's about forward movement and healing oneself. Americans are very big on getting better.

I like to be surrounded by books. My wife Evelyn has a Ph.D. in comparative literature, so we have a lot of her Spanish and German literature books which are wasted on me, plus a lot of novels and books on art and architecture shared by us both. Evelyn used to edit an art magazine called 'FMR,' so we have a common interest in design.

I like Victorian children's novels extremely a lot. If I would say I collect anything, that's what I'll hunt for now and again at old book stores.

I like to give people novels I think they would like, on no particular occasion - just when we're in a bookstore together. I like to receive reference books on my birthday.

I know, I know the world wants love. I know that the fans want love on the air. Of course they do. They want love on the air as they want love in pictures, in the theatre, in novels and poems. And I want to give them love on the air - but not cheap love, not a low - class type of love.

I have tried to celebrate the park, which means so much to so many of us, in The Eye of the Storm and in some of the shorter novels of The Cockatoos.

In seventh grade, with some vague sense that I wanted to be a writer, I crouched in the junior high school library stacks to see where my novels would eventually be filed. It was right after someone named Kurt Vonnegut, Jr. So I grabbed a Vonnegut book, 'Breakfast of Champions' and immediately fell in love.

I gave them some specific assignments to do over the summer. I told them to read specific novels and other packets.

I had bohemian parents in Seattle in the last '60s living in a houseboat. My dad wrote science fiction novels and painted big murals and oil paintings.

I think novels are profoundly autobiographical. If writers deny that, they are lying. Or if it's really true, then I think it's a mistake.

I have written more than 100 novels and novellas since 1983 - I was first published in 1985. There was an overlap of three years with my teaching career, but finally I felt good enough about my writing career to quit teaching and write full time.

I read too many romance novels during my formative years. I have a penchant for romantic comedies. I understand why 'Romeo and Juliet' came to such a pass.

I read everything aloud, novels as well as picture books. I believe the eye and ear are different listeners. So as writers, we have to please both.

I read a lot of the 'Pern books' growing up - basically up through 'All the Weyrs of Pern,' maybe a couple after that. As far as formative dragon influences are concerned, she's probably one of the top ones; I know I read other fantasy novels that had them, but none particularly stick in mind.

Call me territorial or narcissistic, but I avoid novels about people who share my vocation.

I don't think I'm interested in writing women's novels anymore.

I didn't know anything about romance novels until a friend suggested that I try writing one. After I read a few, I realized that my favorite part of fiction had always been the relationship aspect.

Honestly, not being evasive, but the great thing about Bond is that I have fifty years of movies - 23 movies and all the Ian Fleming novels and short stories, all of which are fodder. And when I'm working on the new Bond, I'm constantly going back to Fleming and the other movies - what are the bits and pieces, what are the resonances?

'Game of Thrones' is taking dense novels and trying to shrink it all down to a slightly manageable series in the sense that there are so many characters and so many locations.

I felt that, in some ways, my novels lacked heart because of the distance between me and the subject matter. But no one wants to read a book based on good health, a happy upbringing, a long marriage.

I changed my writing style deliberately. My first two novels were written in a very self-consciously literary way. After I embraced gay subject matter, which was then new, I didn't want to stand in its way. I wanted to make the style as transparent as possible so I could get on with it and tell the story, which was inherently interesting.

I'd read one too many crime novels where the victim was just a name: body number one, dead woman number 12. I understood fear, and I wanted to create characters who made readers say, 'Please, don't hurt this guy.' That's the key to suspense. It's easy to disgust a reader. It's much harder to make them care.

I do my best to build a strong factual foundation for each of my novels and rely upon my author's notes to keep my conscience clear.

Cases like this hopefully will clarify what copyright is all about. Copyright doesn't protect ideas, and copyright doesn't protect facts. . . . A number of people can write novels based on the same idea and still have freedom of expression.

he aspired to produce something simultaneously less vulgar and less formless than the novels of the great Victorians, and ... he wished his work to elevate the novel to the status of art.

Graphic novels are such a visually creative world - it's really interesting what they can do in one sketch. Now I'm hooked.

For the first time, you had novels that represented this domain of private feelings and women's lives. She examined how people act in private and how that affected the way they act in public.

the judges felt the level of the short-listed novels was as high as it can ever have been.

The important discovery I made very early is that my novels had to be written without any given plan or outline. I can't do it in any other way. But then they are dependent on the sentences, my intuition, and, as I have experienced many times, the subconscious.

All novels must be autobiographical because I am the only material that I know. All of the characters are me. But at the same time, a novel is never autobiographical even if it describes the life of the author. Literary writing is a completely different medium.

The glittering structure of her cultivation sits on her novels like a rather showy icing that detracts from the cake beneath.

The easy answer is that writing novels is a lot more fun than practicing law.

The funny thing is, as a young person I was trying to write prose, and I wrote a lot of it, but I was never satisfied with the results. Two of the novels I wound up finishing and publishing later I started very early on, in my early 20's, In The Country Of Last Things and Moon Palace. Both of those books I worked a great deal on but never quite got a grip on either one.

The difference between graphic novels and web comics is even greater than graphic novels and story boarding. Web comics really is a legitimately separate genre.

All the old school Young Adult novels inspired me. I grew up reading R.L. Stine, Christopher Pike, Richie Cusick, and so on. I loved how you never really knew who the 'bad guys' were in their works, and I wanted to capture that feeling with 'Don't Look Back.'

All romance novels are courtship stories, and I'm not really interested in that,

The L.A Trilogy is a series of three novels starring Ray, a robot detective, and his boss, a computer called Googol. Set in an alternative version of 1960s Los Angeles, each book will be more or less standalone but together will form an overarching story arc with 'Brisk Money' as the origin story.

There was no such person as Mrs. Wayne Wilmot; there was only a shell containing the opinions of her friends, the picture postcards she had seen, the novels of country squires she had read