I think Melbourne is by far and away the most interesting place in Australia, and I thought if I ever wrote a novel or crime novel of any kind, I had to set it here.
I read novels for entertainment rather than for edification, so I tend not to read the sort of novels that are said to illuminate the human condition.
I don't think Ireland has ever had a genius for the novel. Of course, there were plenty of Irish novels, but I don't think that was ever the natural means of expression for the Irish.
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.
As to the number of novels I've abandoned... I shudder to think. I have thrown away five completed novels, and that's a gruesome enough figure. But not necessarily a waste of effort.
I obviously prefer writing novels but I take my journalism very seriously, and I enjoy doing it between novels. It gives me an opportunity to move in the outside world.
I've always been a little bit more of a novel reader than a short story reader. I think the first books that made me want to be a writer were novels.
I think what happens to young writers is that they use up every life experience that they have had up to that point for their first novel. Then you have to come up with something for the second novel, but you really don't have anything to say.
I wrote 'Don't Look Back' in November 2011, and when I wrote the novel, it wasn't contracted, so there was a freedom in that - no expectations or anything like that. It was also my first contemporary novel I'd written and sold, which was to Disney/Hy...
We don't tend to write about disease in fiction - not just teen novels but all American novels - because it doesn't fit in with our idea of the heroic romantic epic. There is room only for sacrifice, heroism, war, politics and family struggle.
I tend to write longer narrative pieces after I've finished writing a novel - when the fiction's finished and put away, and I have a chance to take all the ideas that are buried inside of my novels and work with them directly.
No one in a novel by Virginia Woolf ever filled up the petrol tank of her car. No one in Hemingway's postwar novels ever worried about the effects of prolonged exposure to the threat of nuclear war.
Once, I optioned a novel and tried to do a screenplay on it, which was great fun, but I was too respectful. I was only 100 pages into the novel and I had about 90 pages of movie script going. I realized I had a lot to learn.
The novel succeeds on terms exclusive to literature. A good film succeeds on terms exclusive to the cinema. That's why so many bad novels can become good movies, like 'Jaws' or 'The Godfather.'
Many critics, when trying to praise a short-story collection, will say that it has the heft and scope of a good novel. But for me, one of the highest compliments you can pay a novel is to say that it has the rich texture and eloquent detail of a good...
I've had some tremendous adventures, good and bad. It's part of the novel, and a novel isn't interesting if it doesn't have some good and bad. And you don't know what good is if bad hasn't been a part of your life.
I am a novelist. I traffic in subtleties, and my goal in writing a novel is to leave the reader not knowing what to think. A good novel shouldn't have a point.
Continuous present is all we have, and stream of consciousness - which in a novel is arguably just as artificial as the stilted dialogue that you get in most conventional novels. They're all stratagems to try to get closer to the texture of lived lif...
I've read every single fantasy novel there is. I mean, I would challenge a lot of people to read more fantasy novels than I have.
People wonder why the novel is the most popular form of literature; people wonder why it is read more than books of science or books of metaphysics. The reason is very simple; it is merely that the novel is more true than they are.
A novel, even a social realist one, can't simply be a comprehensive rendering of what is. A novel requires a special angle or approach, whether in structure or language or theme, to justify itself.
