I seem to produce a novel approximately once every three years.
A good novel is worth more than the best scientific study.
I would say I'm a storyteller first, but game making is very wrapped up in how I think of story. If I were to have a story idea, and I decided to write a novel with it instead, I'd have to very consciously de-couple it from gamedom - for example, deliberately add in things that could not be represented in a game scene.
I wrote a great deal of a novel, 'Winter's Tale,' on the roof of a Brooklyn Heights tenement on Henry Street. I was a technical climber, and now and then I would put down my manuscript and get up to walk along parapets and climb walls and chimneys.
My first novel took 12 years to complete because life got in my way.
I'm really familiar with what Cardboard's doing; it's not a novel concept. Cardboard is in many ways a direct ripoff of FOV2GO, a project I helped work on when I was at ICT, and it was fairly well known in the academic VR community.
Hemingway is terribly limited. His technique is good for short stories, for people who meet once in a bar very late at night, but do not enter into relations. But not for the novel.
Believe it or not, I sold my first novel, 'Crank,' with only seventy-five pages complete. It was in verse then, and it was hard-hitting then.
The tools used by economists to analyze business firms are too abstract and speculative to offer any guidance to entrepreneurs and managers in their constant struggle to bring novel products to consumers at low cost.
When I'm working on a novel, I generally do write every day, but in between those marathons, I take breaks. My brain needs time to recharge.
'Flash mobs' are reported on extensively because they're novel and can be used to stoke fears of young people and the Internet. The media, of course, have absolutely no clue what they're reporting on.
A screenwriter heard me read from my novel 'The Wishbones' when it was still in progress and mentioned me to some producers in Hollywood. They called, and I told them I had a novel in my drawer about a high school election that goes haywire. They asked to take a look, and my life changed pretty dramatically as a result.
The novel is always pop art, and the novel is always dying. That's the only way it stays alive. It does really die. I've been thinking about that a lot.
I understand the visual media very well, as I used to write comic books for Walt Disney, and I've written a graphic novel.
A certain luxury when you get to writing a novel is to have the space to have your characters just banter.
There's a long relationship between science fiction and the 'novel of ideas,' and I think writers of science fiction are able to draw on that tradition to take risks, to constantly raise the level of their ambition.
Reading a novel in which all characters illustrate patience, hard work, chastity, and delayed gratification could be a pretty dull experience.
The novel has always been the form that incorporates other forms. For me, it has always been the ultimate medium.
I don't cry too often reading books, but I did reading Francisco Goldman's autobiographical novel, 'Say Her Name.'
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.
My first novel was rejected by some of the most eminent publishers in the world. Starting again was a real wrench.
A good novel editor is invisible.
The seed for my novel 'Half Brother' was planted in my mind over twenty years ago, but didn't germinate until late 2007 when I came across the obituary for Washoe, an extraordinary chimpanzee who had learned over 250 words of American Sign Language.
Whatever I write, no matter how gray or dark the subject matter, it's still going to be a comic novel.
I regard this novel as a work without redeeming social value, unless it can be recycled as a cardboard box.
I used to write stories a lot because you had to fill your hours some other way than watching television. So my imagination was vivid, and I used to write a lot of stories. I wrote a novel, which I still have, which is so awful.
The great American novel has not only already been written, it has already been rejected.
Many characters in the novel are representative of types that exist in India. He represents the caste system in India with an air of superiority, the caste system in India and the people thinking that western things are better.
I like shape very much. A novel has to have shape, and life doesn't have any.
It's like that Simpsons joke - they're filming a cow in a movie and they go, 'OK, we'll tape a bunch of cats together to make a cow', and it's like, 'Why don't you just use a cow?'. For some reason that is novel - like, 'Oh, my guitar sounds like a piano and now if I can just get my piano to sound like my guitar'.
When I was pregnant, I had the romantic idea that after the baby was born I would not only take up reading in earnest again, but also write a novel while my daughter slept in her Moses basket. Of course, I barely had time to keep up with my magazines until she started sleeping properly.
It's no accident that my first novel was called Americana. This was a private declaration of independence, a statement of my intention to use the whole picture, the whole culture.
That's the nice thing about doing research. Whatever you do is novel, so you always have this sense of novelty, even if you are only using a new gadget.
I don't want to write a novel per year. I know that I need a break of one or two years. So maybe I invent some new, urgent activity so I don't fall into the trap of starting a new novel.
Divorce in a young-adult novel means what being orphaned meant in a fairy tale: vulnerability, danger, unwanted independence.
I don't believe there can be a poetic novel without political consciousness. I have a strong political conscience.
