Character Novel Quotes & Sayings

The book [Joyce's "Ulysses"] can just as well be read backwards, for it has no back and no front, no top and no bottom. Everything could easily have happened before, or might have happened afterwards. You can read any of the conversations just as pleasurably backwards, for you don't miss the point of the gags. Every sentence is a gag, but taken together they make no point. You can also stop in the middle of a sentence
the first half still makes sense enough to live by itself, or at least seems to. The whole work has the character of a worm cut in half, that can grow a new head or a new tail as required. — C. G. Jung

When I work on a novel, I usually have one character and a setting in mind. — Kevin Henkes

Few novels truly deserve the description 'rollicking' in the way Mary Novik's Conceit does. A hearty, boiling stew of a novel, served up in rich old-fashioned story-telling. Novik lures her readers into the streets of a bawdy seventeenth-century London with a nudge and a wink and keeps them there with her infectious love of detail and character. A raunchy, hugely entertaining read that will leave you at once satiated and hungry for more. — Gail Anderson-Dargatz

In some ways, a novel isn't as structurally rigorous as a screenplay or a TV show, which have finite real estate. In a novel, you can more deeply illuminate a character's interior and get away with digressions. — Howard Gordon

Described by Harold Bloom as "the beginning of the end of the traditional novel of social morality" (xii), George Eliot's Middlemarch is nonetheless replete with a kind of authorial intervention that modern readers might find tiresome. Readers today are accustomed to the contemporary fictional maxim of "show, don't tell" but Eliot had different aesthetic ideas, for she always tells us right away who we are dealing with. At the beginning of Middlemarch, the character of one of its protagonists, Dorothea Brooke, is laid out. Eliot writes, — George Eliot

Dastardly devious, cleverly conceived, and just a whole lot of fun to read, DEATH PERCEPTION is Lee Allen Howard on fire and at his finest. Rife with winsome weirdness, it's like the mutant stepchild of Carl Hiaasen and Stephen King, mixing a truly unique paranormal coming-of-age story with a quirky cast of offbeat noir characters into a novel that's simply unforgettable ... and hilariously original. A supernatural crime story, blazing with creative intrigue ... don't miss it. — Michael Arnzen

I write what I can. I think being able to write like Michael Connelly and have a character that goes from novel to novel, or to dramatize history like Vidal or Ellroy, or have an explosively inventive mind like Bulgakov, would be an incredible thing. I don't have that. I only have what I have. — Henry Rollins

The biographical novel sets out to document this truth, for character is plot, character development is action, and character fulfillment is resolution. — Irving Stone

I am writing about people who are alive in the city of New York during mid-20th-century America. And these people are like a character in a play or they are figures in a short story or a novel. — Gay Talese

If your novel seems to be dragging, one of the first places to look is at the heart of your lead character. Is he giving up too easily? Has she been taking it too long? Are there too many scenes where he's thinking and not doing? - James Scott Bell — Anonymous

Here's what I want from a book, what I demand, what I pray for when I take up a novel and begin to read the first sentence: I want everything and nothing less, the full measure of a writer's heart. I want a novel so poetic that I do not have to turn to the standby anthologies of poetry to satisfy that itch for music, for perfection and economy of phrasing, for exactness of tone. Then, too, I want a book so filled with story and character that I read page after page without thinking of food or drink because a writer has possessed me, crazed with an unappeasable thirst to know what happens next. — Pat Conroy

The ideology of liberal humanism found expression in the earliest reviews of Hardy's writing and remained a dominant force until the explosion of literary theory in the 1980s. It is a broad and still influential category. It endorses the moral value of the individual, and the strength of the human spirit. It prefers the integrity of an organic rural society to the anonymity and materialism of an urbanised and technological world. Applied to fiction, this ideology involves the naturalisation of the novel's world and its values, and the recognition of fictional character as presenting a unified subject. — Geoffrey Harvey

So he was queer, E.M. Forster. It wasn't his middle name (that would be 'Morgan'), but it was his orientation, his romping pleasure, his half-secret, his romantic passion. In the long-suppressed novel Maurice the title character blurts out his truth, 'I'm an unspeakable of the Oscar Wilde sort.' It must have felt that way when Forster came of sexual age in the last years of the 19th century: seriously risky and dangerously blurt-able. The public cry had caught Wilde, exposed and arrested him, broken him in prison. He was one face of anxiety to Forster; his mother was another. As long as she lived (and they lived together until she died, when he was 66), he couldn't let her know. — Michael Levenson

There is one final point, the point that separates a true multivolume work from a short story, a novel, or a series. The ending of the final volume should leave the reader with the feeling that he has gone through the defining circumstances of Main Character's life. The leading character in a series can wander off into another book and a new adventure better even than this one. Main Character cannot, at the end of your multivolume work. (Or at least, it should seem so.) His life may continue, and in most cases it will. He may or may not live happily ever after. But the problems he will face in the future will not be as important to him or to us, nor the summers as golden. — Gene Wolfe

When you write a book, you want to have fidelity to the character. Characters and their emotions guide the structure of the novel. The author is aware that there's a certain amount of information she/he has to provide in order to satisfy the reader, knowing that she/he has set something up that must be paid off, but this payment must be made while maintaining fidelity to the characters. — David Bezmozgis

I think the success of every novel - if it's a novel of action - depends on the high spots. The thing to do is to say to yourself, 'Which are my big scenes?' and then get every drop of juice out of them. The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through? — P.G. Wodehouse

I've quit writing screenplay [adaptations]. It's too much work. I don't look at writing a novel as work, because I only have to please myself. I have a good time sitting here by myself, thinking up situations and characters, getting them to talk - it's so satisfying. But screenwriting's different. You might think you're writing for yourself, but there are too many other people to please. — Elmore Leonard

And he absolutely had to find her at once to tell her that he adored her, but the large audience before him separated him from the door, and the notes reaching him through a succession of hands said that she was not available; that she was inaugurating a fire; that she had married an american businessman; that she had become a character in a novel; that she was dead. — Vladimir Nabokov

Axiom : Novel must have either one living character or a perfect pattern: fails otherwise. — E. M. Forster

I have nothing against these big CGI movies, but there are not enough of the other ones - the ones with stories about character that have a beginning, a middle and an end. I said that to a couple of studio heads and they said, 'That's novel.' — James Caan

With James Reese's vivid and chilling novel, readers will gain a whole new appreciation of two gothic landmarks, Dracula and Jack the Ripper. Not only does The Dracula Dossier grip us with its fast paced hunt for history's most notorious killer, it also enchants us with sophisticated and lyrical recreations of its unique period and strong characters. A daring achievement. — Matthew Pearl

A detective novel should contain no long descriptive passages, no literary dallying with side-issues, no subtly worked-out character analyses, no 'atmospheric' preoccupations. Such matters have no vital place in a record of crime and deduction. They hold up the action and introduce issues irrelevant to the main purpose, which is to state a problem, analyze it, and bring it to a successful conclusion. To be sure, there must be a sufficient descriptiveness and character delineation to give the novel verisimilitude. — S. S. Van Dine

In a novel there's not much autobiography. There are characters in transit. Naturally, I can project something of my experiences onto the characters, but they have their own autonomy, a personality that is often a mystery to me. — Dacia Maraini

Put simply the novel stands between us and the hardening concept of statistical man. There is no other medium in which we can live for so long and so intimately with a character. That is the service a novel renders. — William Golding

Surely the test of a novel's characters is that you feel a strong interest in them and their affairs the good to be successful, the bad to suffer failure. Well, in John Ward, you feel no divided interest, no discriminating interest you want them all to land in hell together, and right away. — Mark Twain

Facing the sagging middle when writing a novel, while inevitable, may be
overcome by pre-planning. I divide my collection of proposed scenes into three acts, each scene inciting tension that builds toward the final crisis in Act Three. If by Act Two the emotional river isn't spilling over the banks, I reassess the plot so that once the writing is flowing I don't slide into a dry creek. The central character should be struggling to navigate life well into the end of Act One, even if her fiercest antagonist is only from within. — Patricia Hickman

Laura thought Bell would have a few things to say to Pynchon. And Laura had a few things to say to Bell, like, How the hell was a writer supposed to know when she was one-fifth through her novel-writing, so she could cut a door into the wall and shove her character out into the forest? — L.L. Barkat

Good or evil, it doesn't really matter, so long as your novel's character is interesting. — Mark Rubinstein

Writing a novel, in an unplanned and unpredictable way, makes you engaged; it takes you into yourself, and it becomes something between you and the character for a moment, and then you move back into the structure of the book. I love those moments, because they are completely unbidden. — David Bezmozgis

If there is a connection between Harry Potter and my new novel, it's my interest in characters. — J.K. Rowling

It is made up of one character each from the names of three of the major female protagonists of the novel (P'an Chin-lien, Li P'ing-erh, and P'ang Ch'un-mei) that would literally mean Gold Vase Plum; it can be semantically construed as The Plum in the Golden Vase, or Plum Blossoms in a Golden Vase; and it puns with three near homophones that might be rendered as The Glamour of Entering the Vagina. — David Tod Roy

In August of 1998, I completed Seize the Night, the sequel to my novel Fear Nothing, one of many of my books in which a dog is among the cast of principal characters. Every time I wrote a story that included a canine, my yearning for a dog grew. Readers and critics alike said I had an uncanny knack for writing convincingly about dogs and even for writing from a dog's point of view. When a story contained a canine character, I always felt especially inspired, as if some angel watching over me was trying to tell me that dogs were a fundamental part of my destiny if only I would listen. — Dean Koontz

One can feel the immense joy of Amy Hill Hearth's engagement in her first novel. It radiates through every scene and through every page. Sometimes, an exceptional writer finds an exceptional premise, and the result is a truly exceptional book. Such is the case with Miss Dreamsville ... The writing is brilliant, especially the dialogue through which the characters are defined. — Philip K. Jason

I was a little bit wary of playing Nicholas. In the script, which I think is true of the novel and the film, he's the only character not singing and dancing in a musical style. Playing someone who is the personification of good is a little difficult. — Charlie Hunnam

She said, "Your approach is wrong. You're writing an essay rather than creating a literary figure. What a literary character does in ten minutes might be a reflection of ten years' experience. You can't be limited to the plot of a novel - you've got to imagine her entire life, and what actually gets put into words is just the tip of the iceberg." So — Liu Cixin

She was like a heroine in a novel that she herself was writing the character kept protesting that she was too strong for love and yet the narrator went on describing her desire. — Anna Godbersen

If there is anything in writing that comes easy for me it's making up metaphors. They just appear. I can't move two lines without all kinds of images. Then the problem is how to make the best of them. In its geological character, language is almost invariably metaphorical. That's how meanings tend to change. Words become metaphors for other things, then slowly disappear into the new image. I have a hunch, too, that the core of creativity is located in metaphor, in model making, really. A novel is a large metaphor for the world. — William Gass

Taken together the Internet reads like the grandest character-driven novel humanity has ever known. Not much plot though. — Victor LaValle

I've just finished a series of Olivia Manning novels. She's best known for two trilogies: Balkan Trilogy and Levant Trilogy. The six novels are continuous and contain the same set of characters. They are based on Manning's experiences in Eastern Europe and Egypt during the Second World War. Each novel is a wonderful picture of the peculiar British expatriate culture and what was happening during the war. She's one of those brilliant women who write very well about domestic relationships. All the books are slim, and it's easy to gallop through them. — Sarah Waters

A passion for any novel, and any character, can crystallise your ideas when you really need to be as open as possible as a performer. — Romola Garai

We at the Christian Writers Guild couldn't be more proud of Brandy Vallance. Let her debut novel transport you to an entirely fresh time and place where you'll soon forget you're turning pages and find yourself riveted to the destinies of characters who'll leave a lasting impression on your heart. — Jerry B. Jenkins

I define a thriller as a big-stakes, multiple-viewpoint novel involving suspense, action, and mystery, in which the reader doesn't know everything but usually knows more than any single character. — F. Paul Wilson

Kerouac lacks discipline, intelligence, honesty and a sense of the novel. His rhythms are erratic, his sense of character is nil, and he is as pretentious as a rich whore, sentimental as a lollypop. — Norman Mailer

The age of clear answers was over. So was the age of characters and plots. Despite her journal sketches, she no longer really believed in characters. They were quiant devices that belonged to the nineteenth century. The very concept of character was founded on errors that modern psychology had exposed. Plots too were like rusted machinery whose wheels would no longer turn. A modern novelist could no more write characters and plots than a modern composer could a Mozart symphony. It was thought, perception, sensations that interested her, the conscious mind as a river through time, and how to represent its onward roll, as well as the tributaries that would swell it, and the obstacles that would divert it. If only she could reproduce the clear light of a summer's morning, the sensations of a child standing at a window, the curve and dip of a swallow's flight over a pool of water. The novel of the future would be unlike anything in the past. — Ian McEwan

I wrote three mysteries and then a contemporary spy novel that was unbelievably derivative - completely based on 'The Conversation,' the movie with Gene Hackman. Amazingly, the character in the book looks exactly like ... Gene Hackman. — Alan Furst

There's no better way to get to know a city than to walk its streets. A place will reveal its soul through its sights, sounds and smells, and eventually, it'll teach you its rhythm. — Henry Mosquera

You can do everything differently in a novel. Hero narrates the novel; we're in his head. You're hearing all his thought processes and you're hearing him call himself out on his bad behavior. You don't have the benefit of that narrator in a movie. What you see a character do, very often, becomes that much more important because you don't have him editorializing it for you. — Jonathan Tropper

I think even a hero is someone who has sort of the flaw or imperfection of character. I remember Alice Walker saying that once - she'd written a novel about a civil rights hero, and it was someone who had this flaw, this central flaw. — Hector Tobar

Roughly, the action of a character should be unpredictable before it has been shown, inevitable when it has been shown. In the first half of a novel, the unpredictability should be the more striking. In the second half, the inevitability should be the more striking. — Elizabeth Bowen

There were absolutely amazing photographs everywhere, on everyone's Facebook page and everyone's iPhone and Instagram, just floating around in cyberspace for eternity. People took hundreds and thousands of digital pictures; one or two, even twenty or a hundred, were bound to be great. All anyone had to do was click through them all and post the ones they liked, deleting the rest. But using film meant you never knew what was going to be a good picture, let alone a great one, until you were standing there looking at a contact sheet with a magnifying glass and deciding which to print.
Maybe nobody cared anymore, but then again, writers probably felt the same way when word processors were invented. Anyone with a story and a keyboard could write their memoir now, write the great American novel, or tweet a 140-character trope that gets retweeted and it read by hundreds of people every hour of every day. — Nora Raleigh Baskin

The flimsy little protestations that mark the front gate of every novel, the solemn statements that any resemblance to real persons living or dead is entirely coincidental, are fraudulent every time. A writer has no other material to make his people from than the people of his experience ... The only thing the writer can do is to recombine parts, suppress some characterisitics and emphasize others, put two or three people into one fictional character, and pray the real-life prototypes won't sue. — Wallace Stegner

I've never yet managed to write a novel which didn't have an Indian central character. — Salman Rushdie

I finished my first novel - it was around 300 pages long - when I was 16. Wrote one more before I got out of high school, then wrote the first Lincoln Perry novel when I was 19. It didn't sell, but I liked the character and I knew the world so I tried what was, in my mind, a sequel. Wrote that when I was 20, and that one made it. — Michael Koryta

Life for women in ancient Greece was hard - you had to fight for every inch of ground you got. Both Thetis and Briseis are strong, passionate women and in another time and place their lives would have been very different. Part of the tragedy of their characters is how much they have to offer - and how little of that they get to realize. Thetis spends the whole novel fighting the limitations placed on her, desperately trying to eke out the best she can from a bad situation. This makes her fierce and terrifying. — Madeline Miller

Characters make their own plot. The dimensions of the characters determine the action of the novel. — Harper Lee

Steve Forman strafes the south Florida scene with Boca Knights, an outrageously funny mystery novel with a raft of offbeat characters and prose that moves trippingly off the pen. His main man, Eddie Perlmutter, ex-Boston cop attempting semi-retirement in Boca Raton like a fish trying to retire out of the water, is a character for the ages. Carl Hiaasen, watch your back. — Douglas Preston

It must always be considered as though spoken by a character in a novel — Roland Barthes

It was a part of me that I was taking, this magical part of me that he somehow sparked into being. I wasn't waiting for Santa; I wasn't waiting like some heroine in a romance novel for the tall, dark stranger to make a gift of these feelings he evoked in me, I was taking it, I was claiming this for my own. — Chris Dee

With a historical novel you know that liberties are being taken. Since Walter Scott, we know that poetic license, dramatic license, that events been conflated and that liberties have been taken, characters ditto, dates rearranged. But people don't seem to understand that movies are fictions, they are dramatizations, at least historical movies, and we should accord the moviemakers some of the same understanding and latitude. When you go to a movie you know it's a dramatization and not history. — Nicholas Meyer

Short of a small range of physical acts-a fight, murder, lovemaking-dialogue is the most vigorous and visible inter-action of which characters in a novel are capable. Speech is what characters do to each other. — Elizabeth Bowen

Dude, if you stare at me any longer you'll end up as a twisted character in my wife's next novel. — Mantissa Etherbright

For me, the main inspiration to write a story or novel is the voice of its central character, or the narrative voice of the story itself. — Scott Bradfield

So long as a novelist works selfishly for the pleasure of creating character and situation corresponding to his own illusions, ideals and intuitions, he will always produce something worth while and natural. Directly he takes himself too seriously and begins for the alleged benefit of humanity an elaborate dissection of complexes, he evolves a book that is more ridiculous and tiresome than the most conventional cold cream girl novel of yesterday. — Willa Cather

Plot comes first. The plot is the archictecture of your novel. You wouldn't build a house without a plan. If I wrote without a plot, it would just be a pile of bricks. Characters are your servants. They must serve your plot. — Barbara Kingsolver

No novel is anything, for the purposes either of comedy or tragedy, unless the reader can sympathise with the characters whose names he finds upon the pages. Let an author so tell his tale as to touch his reader's heart and draw his tears, and he has, so far, done his work well. Truth let there be, --truth of description, truth of character, human truth as to men and women. If there be such truth, I do not know that a novel can be too sensational. — Anthony Trollope

Action is the pulse of any good story, but the character is the heart. If the action has no consequence to the character, the story loses heart. — Linda W. Yezak

Anthony Ryan is a new fantasy author destined to make his mark on the genre. His debut novel, Blood Song, certainly has it all: great coming of age tale, compelling character, and a fast-paced plot. If his first book is any indication of things to come, then all fantasy readers should rejoice as a new master storyteller has hit the scene. — Michael J. Sullivan

Consider yourself a functional character in someone else's novel - a background character - a person on the street - that's the perspective ... — John Geddes

The process of writing a novel begins with a pang, a moment of recognition, and a situation, a character, or something you read in a paper, that seems to go off, like a solar flare inside your head. — Martin Amis

He joined Jude in the kitchen and began making a salad, and JB slumped to the dining-room table and started flipping through a novel Jude had left there. "I read this," he called over to him. "Do you want to know what happens in the end?"
"No, JB," said Jude. "I'm only halfway through."
"The minister character dies after all."
"JB!"
After that, JB's mood seemed to improve. — Hanya Yanagihara

What does the novel know? It has no practical or educational aim; yet it knows what ordinary knowledge cannot seize. The novel's intricate tangle of character-and-incident alights on the senses with a hundred cobwebby knowings fanning their tiny threads, stirring up nuances and disclosures. The arcane designs and driftings of metaphor - what James called the figure in the carpet, what Keats called negative capability, what Kafka called explaining the inexplicable - are that the novel knows. — Cynthia Ozick

Playing Destroyo, who was sort of a Silence Of The Lambs type character, I'd say I was wearing about 50 pounds of rubber and foam rubber and makeup. But I had no idea who The Tick was. I'm not a big graphic-novel guy. I don't even know if The Tick was a graphic novel! — Kurt Fuller

Her mother likes to say that novels have ruined Amelia for real men. This observation insults Amelia because it implies that she only reads books with classically romantic heroes. She does not mind the occasional novel with a romantic hero but her reading taste are far more varied than that. Furthermore, she adores Humbert Humbert as a character while accepting the fact that she wouldn't really want him for a life partner, a boyfriend, or even a casual acquaintance. She feels the same way about Holden Caulfield, and Misters Rochester and Darcy. — Gabrielle Zevin

The main characters in a novel must necessarily have some kinship to the author, they come out of his body as a child comes from the womb, then the umbilical cord is cut, and they grow into independence. The more the author knows of his own character the more he can distance himself from his invented characters and the more room they have to grow in. — Graham Greene

I don't think I ever intended specifically to write for the young adult market. It's just that when the idea for City of Bones came to me, I knew the main characters were teenagers. In my mind they were just very clearly the ages they were, which turned out to mean it was a YA novel. — Cassandra Clare

Once you buy into a television show, there doesn't have to be resolution from week to week. You can develop characters and storylines and react to the audience, so you get more of a serialized version of storytelling where you can go much deeper into each character. It's more like a novel. — Jon Favreau

What matters is the character of ... stereotypes, and the gullibility with which we employ them. And these in the end depend upon ... our philosophy of life. If in that philosophy we assume that the world is codified according to a code which we possess, we are likely to make our reports of what is going on describe a world run by our code. But if our philosophy tells us that each man is only a small part of the world, that his intelligence catches at best only phases and aspects in a coarse net of ideas, then, when we use our stereotypes, we tend to know that they are only stereotypes, to hold them lightly, to modify them gladly. We tend, also, to realize more and more clearly when our ideas started, where they started, how they came to us, why we accepted them. All useful history is antiseptic in this fashion. It enables us to know what fairy tale, what school book, what tradition, what novel, play, picture, phrase, planted one preconception in this mind, another in that mind. — Walter Lippmann

I don't mind being called a "feminist," as I certainly embrace the tenets of feminism, though it does feel a little sad to me that we need to call a novel "feminist" simply because the female characters are interesting and strong. — Laurie Foos

Parenthood doesn't improve one's character, it exposes it. — Leslie A. Gordon

It's hard being a hostage in somebody else's mouth - or a character in somebody else's novel. — David Antin

Not getting bored of my own story and/or character is one of the main struggles I have had with novel writing, and I have put to bed big chunks of work that just didn't sustain my interest. — Aimee Bender

A brief short story may require only a few paragraphs after the climax. On the other hand, in his massive novel 'The World According to Garp,' John Irving's denouement consisted of 10 separate sections, each devoted to an individual character's fate and each almost a story in itself. — Nancy Kress

Usually at the end of each story we're thrown clear out of the story's world and then we're given a new world to enter. What's unique about a linked collection is that it can deliver both sets of narrative pleasures - the novel's long immersion into character-world and the story anthology's energetic (and mortal) brevity - the linked collection is unique in its ability to be both abrupt and longitudinal simultaneously. — Junot Diaz

An author's extraliterary utterance (blunt information), prenovel or postnovel, may infiltrate journalism; it cannot touch the novel itself. Fiction does not invent out of a vacuum, but it invents; and what it invents is, first, the fabric and cadence of language, and then a slant of idea that sails out of these as a fin lifts from the sea. The art of the novel (worn yet opulent phrase) is in the mix of idiosyncratic language - language imprinted in the writer, like the whorl of a fingertip - and an unduplicable design inscribed on the mind by character and image. Invention has little capacity for the true-to-life snapshot. It is true to its own stirrings. — Cynthia Ozick

Jeanne sensed herself becoming more depressed after tweeting. She felt lonely after all of her thoughts had left her and were now staring at her on the Internet. Jeanne sometimes felt fearful of posting her thoughts on twitter. After posting a thought to twitter she sometimes thought, "No, I should have saved that." Jeanne felt unsure as to why she would need to save her thoughts. Maybe she needed to somehow save up all of her thoughts like carnival tickets, and she would be able to one day trade them in for one big, good thing. She could possible trade them in for a giant stuffed animal with a disproportionately large head that is not a trademarked character but very similar looking to a trademarked character.

She thought that if she ever wrote a novel it would be made up of every thought she has ever had. She would title it "One Big Good Thing" even if it were small and bad. — Gabby Bess

There is no 'right' way to begin a novel, but for me, plot has to wait. The character comes first. — Susan Isaacs

Novelists congratulate themselves on their creation of this kind of "character" or that kind of "character," and readers pretend to talk knowingly about "character," but all it amounts to is that the writers are enjoying themselves writing lies and the readers are enjoying themselves reading lies. In fact, there is no such thing as character, something fixed and final. The real thing is something that novelists don't know how to write about. Or, if they tried, the end result would never be a novel. Real people are strangely difficult to make sense out of. Even a god would have his hands full trying. — Soseki Natsume

Characters simply come and find me. They sit down, I offer them a coffee. They tell me their story and then they almost always leave. When a character, after drinking some coffee and briefly telling her story, wants dinner and then a place to sleep and then breakfast and so on, for me the time has come to write the novel. — Dacia Maraini

Life is a shitstorm, in which art is our only umbrella.
(spoken by character in a novel by Mario Vargas Llosa) — Mario Vargas-Llosa

Plays are literature: the word, the idea. Film is much more like the form in which we dream - in action and images (Television is furniture). I think a great play can only be a play. It fits the stage better than it fits the screen. Some stories insist on being film, can't be contained on stage. In the end, all writing serves to answer the same question: Why are we alive? And the form the question takes - play, film, novel - is dictated, I suppose, by whether its story is driven by character or place. — Israel Horovitz

I am the outskirts of some non-existent town, the long-winded prologue to an unwritten book. I'm nobody, nobody. I don't know how to feel or think or love. I'm a character in a novel as yet unwritten, hovering in the air and undone before I've even existed, amongst the dreams of someone who never quite managed to breathe life into me. — Fernando Pessoa

Isn't breaking a supervillian out of jail a little ... much? — Kirstin Van Dyke

Everyone assumed it had to be some sort of biography, because if you are a woman and use yourself as a character, it has to be some sort of confessional, whereas if you're a man, you're actually doing some post-modern play on the novel, some critique on identity with lots of references to Foucault. — Jeanette Winterson

What the Church needs to-day is not more machinery or better, not new organizations or more and novel methods, but men whom the Holy Ghost can use
men of prayer, men mighty in prayer. The Holy Ghost does not flow through methods, but through men. He does not come on machinery, but on men. He does not anoint plans, but men
men of prayer. — E. M. Bounds

In his Preface to the 1892 edition of Tess of the d'Urbervilles Hardy warns the reader that 'a novel is an impression, not an argument'. However, the text offers several explanations of Tess's tragedy; social, psychological, hereditary, and fatalistic, all of which proceed from the assumption that Hardy's text is in some sense determined, and that the character of Tess is somehow knowable. Indeed, the tragedy of Tess is in this sense overdetermined. But it should be remembered that the character of Tess is constructed in the text from many points of observation, including that of the ambivalent narrator; constructed that is from impressions. — Geoffrey Harvey

What must novel dialogue ... really be and do? It must be pointed, intentional, relevant. It must crystallize situation. It must express character. It must advance plot. During dialogue, the characters confront one another. The confrontation is in itself an occasion. Each one of these occasions, throughout the novel, is unique. — Elizabeth Bowen

I don't keep anything on paper (except within an actual novel in progress, at which point I need a file to keep track of plot threads, characters, and so on). — Charles Stross

The script in many ways is limiting and novel is liberating. You get to go into the heads of your characters and their background and have fun with them; something you are discouraged from doing with a script. With the novel, I can tell you what the characters are thinking, I can tell you their view of the world, background information, things I wouldn't dare touch in the script. — Juliet Asante

Redwing had read somewhere that one of his favourite writers, Ernest Hemingway, had been asked what was the best training for a novelist. He had said "an unhappy childhood." Redwing had enjoyed a fine time growing up, but he wondered if this whole expedition was unfolding more like a novel, and would be blamed on one person, one character, the guy in charge: him. Maybe you got a happy childhood and then an unhappy adulthood, and that's how novels worked. — Gregory Benford

Every American autobiography, someone once said, is about one thing - escape. Look into the frightened heart of an American life, and you'll find a compulsion to flee - a seed planted in the national character at the start by those ships sailing out of Europe and landing on our shores.
- Teller: A Novel — Frederick Weisel