Novel That Described Quotes & Sayings

My first novel, 'You Lost Me There,' has been described as a beach read. Tough bracket, beach reads. There's not much room for mistakes when you're competing against the sun for a person's attention. — Rosecrans Baldwin

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

The novel I am constantly writing is always the same one, and it might be described as a variously sliced-up or torn-apart book of myself. — Robert Walser

From where is the material for my picturing this scene derived? I search my memory to find a similar place, with similar docks. It takes a while.

But then I remember a trip I took with my family when I was a child. There was a river, and a dock--it's the same dock as the dock I just imagined.

I realize later that, when a new friend described to me his home in Spain, with its "docks," I was picturing this same dock--the dock I saw on my childhood vacation; the dock I "used" already in imagining the novel I am reading.

(How many times have I used this dock?) — Peter Mendelsund

What greatly annoys me is sometimes you see the short story being described as a training ground for the novel. Kind of like an apprenticeship. And in lots of ways, it's a far harder form. — Kevin Barry

When I was writing 'The White Tiger' I lived in a building pretty much exactly like the one I described in this novel, and the people in the book are the people I lived with back then. So I didn't have to do much research to find them. — Aravind Adiga

Flannery revealed she had been working on the novel "a year and a half and will probably be two more years finishing it." She described her writing habits in a letter dated July 13: "I must tell you how I work. I don't have my novel outlined and I have to write to discover what I am doing. — Flannery O'Connor

Jonathan Coe's genial, likeable novel can only be described as a kind of lit-prog-rock concept album ( ... ) Coe recreates the period with such loving accuracy that I frankly suspect him of having planted a secret microphone in the tin Oxford Mathematical Instruments box I carried around in my school days. ( ... ) (A)s always with Jonathan Coe, the sheer intelligent good nature that suffuses his work makes it a pleasure to read. — Peter Bradshaw

The artist Paul Klee described drawing a picture as taking a line for a walk. I have borrowed his words to explain my approach to writing; when I write a novel it is like I am taking a thought for a walk. — Aminatta Forna

The process of writing a novel is getting to know more about the novel until you know everything about it. And it's been described as a kind of dreamlike state where you're letting the novel make its own shape, and you're putting into it the pleasure of creation, which is intoxicating. — Martin Amis

Motherhood was a twenty-four-hour-a-day, all-encompassing job. It was the hardest job I ever had. Everything that happened to you [her child] happened to me. I had once heard children described in a novel as "hostages to fortune" and certainly my happiness depended on yours. — Amy Poehler

Any man living in complete luxury and security who chooses to write a play or a novel which causes a flutter and exchange of compliments in Chelsea and Chiswick and a faint thrill in Streatham and Surbiton, is described as "daring," though nobody on earth knows what danger it is that he dares. I speak, of course, of terrestrial dangers; or the only sort of dangers he believes in. To be extravagantly flattered by everybody he considers enlightened, and rather feebly rebuked by everybody he considers dated and dead, does not seem so appalling a peril that a man should be stared at as a heroic warrior and militant martyr because he has had the strength to endure it. — G.K. Chesterton

Why did you act in this way, you pitiable ones? Make a bow of repentance, recognize your fault, be sorry for your nakedness. Neither one of them could blame himself, neither of them had the least bit of humility. — Dorotheus Of Gaza

She described how Camus's aphorism "One must imagine Sisyphus happy" helps her fight back against unproductive feelings of meaninglessness.
If we consider, like Camus, Sisyphus at the foot of his mountain, we can see that he is smiling. He is content in his task of defying the Gods, the journey more important than the goal. To achieve a beginning, a middle, an end, a meaning to the chaos of creation - that's more than any deity seems to manage: But it's what writers do. So I tidy the desk, even polish it up a bit, stick some flowers in a vase and start.
As I begin a novel I remind myself as ever of Camus's admonition that the purpose of a writer is to keep civilization from destroying itself. And even while thinking, well, fat chance! I find courage, reach for the heights, and if the rock keeps rolling down again so it does. What the hell, start again. Rewrite. Be of good cheer. Smile on, Sisyphus! — Fay Weldon

A lot of things in history are timing, and it's very peculiar because in retrospect things [and] people can look more brilliant or necessary than they actually were. — Robert Greene

But television affords you, what you just described, to - over the course of 18 hours, now that we're doing a third season - tell the story of this man. You're not under any obligation, really, to do massive expositional stuff at the beginning. You're at liberty to say, "Come with us on this journey," and, gradually, you become aware of what his motivations are, what drives him, what his weaknesses are, what his strengths are. That's what I think's sucking people into these worlds, because it is kind of like a novel, you just go really, really deep. — Cillian Murphy

I've no objection to the term 'graphic novel,' as long as what it is talking about is actually some sort of graphic work that could conceivably be described as a novel. My main objection to the term is that usually it means a collection of six issues of Spider-Man, or something that does not have the structure or any of the qualities of a novel, but is perhaps roughly the same size. — Alan Moore

My sister, she's amazing. She sort of inspired me to take this journey to Latin America. — Jenna Bush

I learned a great deal from [Raymond] Chandler - any writer can - but there had always been basic differences between us. One was in our attitude to plot. Chandler described a good plot as one that made for good scenes, as if the parts were greater than the whole. I see plot as a vehicle of meaning. It should be as complex as contemporary life, but balanced enough to say true things about it. The surprise with which a detective novel concludes should set up tragic vibrations which run backward through the entire structure. Which means that the structure must be single, and intended. — Ross Macdonald

[EM] Forster was the only living writer whom he would have described as his master. In other people's books he found examples of style which he wanted to imitate and learn from. In Forster he found a key to the whole art of writing. The Zen masters of archery - of whom, in those days, Christopher had never heard - start by teaching you the mental attitude with which you must pick up the bow. A Forster novel taught Christopher the mental attitude with which he must pick up the pen. — Christopher Isherwood

Plato has given to all posterity the model of a new art form, the model of the novel--which may be described as an infinitely enhanced Aesopian fable, in which poetry holds the same rank in relation to dialectical philosophy as this same philosophy held for many centuries in relation to theology: namely the rank of ancilla. — Friedrich Nietzsche

New Golden Rule of Fractional Reserve Banking: He who creates the "fool's gold" controls the fools. — Orrin Woodward

Thought Clarissa Dalloway, what a morning - fresh as if issued to children on a beach. — Virginia Woolf

In the Novel

He described her mouth as full of ashes.
So when he kissed her finally
he was thinking about ashes

and the blacker rim just below
the edge of the ashtray,
and the faint dark rim that outlined her lips,

and the lips themselves, at the limit
of another darkness, farther
and far more interior.

Then the way the red,
paling, just outside those lines
caught fire and the pages caught

soon after that. Slowly at first,
but then all at once
at the scalloped brown corners of each;

like the ruff of an offended and darkening bird,
extended, then folded
in on itself; multiple,

stiffening, gone. — Susan Stewart

A smile can reassure another, provide comfort to uncomfortable situations, and display personal self-confidence for all to see. — Asa Don Brown

This book is so huge, that the mythology took many months to create. There are literally hundreds of characters , and many different worlds described in great detail. It's not the sort of thing that you can simply dash off. I hand-write everything. Now, I've done three drafts on Imajica, which comes to about 14,000 pages. When you're working on a novel, you really must give your life over to the project. This is my eleventh book, and I'm fortunate to know that the audience is there for it. I'm not just writing in the dark. — Clive Barker

Tale a rain check on that date?' I said, turning to Perkins. 'In the Magic Industry,it's kind of "Spell First, Fun Second".'
'I kind of figured that,' he replied, 'so why don't we make this assignment the date?' Intimate candlelit dinners for two are wildly overrated. I could even bring some sandwiches and a Thermos of hot chocolate.'
'Okat,' I said, touching his hand, 'you're in. A sort of romantic uncandlelit "recapturing a dangerously savage beast for two" sort of date - but no dressing up and we split the cost.'
'Game on. I'll go and make some sandwiches and a Thermos.'
And with another chuckle, he left. — Jasper Fforde

although we move forward through a story, the entire story is already complete - we hold it in our hands. In this sense, fiction, the great life-giver, also kills, not just because people often die in novels and stories but, more important, because, even if they don't die, they have already happened. Fictional form is always a kind of death, in the way that Blanchot described actual life. "Was. We say he is, then suddenly he was, this terrible was." That is the narrator of Thomas Bernhard's novel "The Loser," describing his friend Wertheimer, who has committed suicide. But it might also describe the tense in which we encounter most fictional lives: we say, "She was," not "She is." He left the house, she rubbed her neck, she put down her book and went to sleep. — James Wood

The English social anthropologist Geoffrey Gorer, in his 1965 Death, Grief, and Mourning, had described this rejection of public mourning as a result of the increasing pressure of a new "ethical duty to enjoy oneself," a novel "imperative to do nothing which might diminish the enjoyment of others. — Joan Didion

Yes, 'Black Girl/White Girl' might be described as a 'coming-of-age' novel, at least for the survivor Genna. It is also intended as a comment on race relations in America more generally: we are 'roommates' with one another, but how well do we know one another? — Joyce Carol Oates

I've often described my book 'Anno Dracula' as 'literally, a vampire novel' - in that it battens on to other novels and sucks their lifeblood, transforming as well as feeding off them. — Kim Newman