When God is driven to the periphery of the public square, the human spiritual capacity longs for exercise, and it often finds it in the “suspension of disbelief” and activity of the imagination that are available in novels and movies.
I find screenplays easy to write, my novels being very visual. You see what people look like. The physical action is described.
SOON was the first novel where I used a rough outline. Usually I have characters and an idea and write as a process of discovery. Like working without a net.
My first novel, 'Man Walks Into a Room,' is about a man who's lost his memory and has to start a second life. On one level, it's about how we create a coherent sense of self.
I hope people will like my novels after I'm dead. And I hope my children think about me in good ways, by and large.
I don't believe novels should carry an obvious message. I don't want to write characters you can immediately say are good or bad; as in life, most people are a mixture.
If you are working in an office, where do you find the time to write a novel? But you can finish a short story in five pages. Furthermore, a short story is a perfect place to learn the craft.
When I was 22 years old, I thought girls would like me if I wrote a novel. I spent so much time writing that I was thrown out of graduate school.
And I used to write novels and little stories and compositions and I - but I put them away because I started acting when I was 17. So there wasn't much time.
Each of my novels features a protagonist undertaking a difficult personal journey. On the way, each of these characters - mostly female - discovers something about herself and at the same time makes an impact on other people's lives.
Last time I was in London, I visited Number 5, Bruton Street, which is the address I gave to Violet Bridgerton, the matriarch of the Bridgerton clan in my novels. It was a bit disconcerting to learn that it's actually a pub.
The writer must face the fact that ordinary lives are what most people live most of the time, and that the novel as a narration of the fantastic and the adventurous is really an escapist plot; that aesthetically, the ordinary, the banal, is what you ...
I began writing 'Matterhorn' in 1975 and for more than 30 years I kept working on my novel in my spare time, unable to get an agent or publisher to even read the manuscript.
When I was 13 or 14, I started devouring novels; literature took quite a while to take me over, but it caught up just in time to save me from becoming a mathematician.
I think a novel has to be about where you are at a given moment in time. I think it really needs to represent some specific pain you're going through. it's not just a story.
If I did only one thing at a time I'd think I was wasting my time. If, for example, I only wrote novels I would feel like a charlatan and a fraud.
I think that's because believable action is based on authenticity, and accuracy is very important to me. I always spend time researching my novels, exploring the customs and attitudes of the county I'm using for their setting.
Once the travel guide came out and won an award, once I got an MFA in creative writing, once I sold my next novel, I finally started telling people that I was a writer. I remember how special that year felt.
I am proudest of that first novel, 'Trust,' of anything I have written. I don't think I've had such intense energy since.
The bourgeois novel is the greatest enemy of truth and honesty that was ever invented. It's a vast, sentimentalizing structure that reassures the reader, and at every point, offers the comfort of secure moral frameworks and recognizable characters.
My first novel took almost six years to sell and was rejected 37 times in the interim, and then finally sold for the smallest amount of money my literary agent had ever negotiated for a work of fiction.
