In 1916, Universal Studios released the first filmed adaptation of Jules Verne's novel '20,000 Leagues Under the Sea.' Georges Melies made a film by that name in 1907, but, unlike his earlier adaptations of Verne, Melies' version bears no resemblance to the book.
When you get inside a literary novel you feel that the author, more often than not, just doesn't know enough about things. They haven't been around enough - novelists never go anywhere. Once I discovered true books about real things - books like 'How To Run a Company' - I stopped reading novels.
I invented the historical spy novel.
Like lots of people who say, 'I'm going to write a novel,' it's actually more comfortable to think I could write a novel than to discover that you can't.
I was very fortunate that my first novel captivated the imaginations of so many readers who asked for a sequel. After that, one book led to another as I discovered other facets to my characters I wanted to investigate further.
Traditionally, people have been adapting novels and short stories forever. Now, they're doing it simultaneously, with an eye towards writing the movie before the novel has even come out or been finished. It's a function of this hyper-accelerated society we live in, where everyone is trying to short circuit the process.
I think of a book and a play, or a book and a movie, as two separate things - I don't think of it as my novel having a new life.
I have no favourite genre or style but treat each novel with the same care, imagination and craftsmanship. It's as difficult to write a crime or a children's novel with a touch of style and grace as it is a literary novel.
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.
A book is either autobiography or a novel.
I start with theory rather than people. I don't like novels which have no theoretical or philosophical underpinning. I hate the contemporary novel where people just sit and talk to each other about their relationships.
I was a total nerd growing up. I'd rather sit home and read a novel on New Year's Eve and say, 'Wow, I read the whole thing in one night!' That was my idea of a big time.
If I had a plot that was all set in advance, why would I want go through the agony of writing the novel? A novel is a kind of exploration and discovery, for me at any rate.
I want to write more books, see my first novel made into a film, fight more campaigns, work in more countries. I want to be able to recall experiences that have endured for their pleasure and range and intensity.
I love reading novels, and I love going to movies, but I kind of hate going to an adaptation of a novel, and it starts off with a voiceover.
I took a 19th-century Russian novel class in college and have been smitten with Russian literature ever since. Writers like Tolstoy, Dostoyevsky, Grossman, and Solzhenitsyn tackle the great questions of morality, politics, love, and death.
The short story seems like the best of all possible worlds. I do feel it is closer to writing poetry than to writing a novel, with its requirements of concentration and economy.
I have a slightly contrarian streak as a writer, and one of the things I was interested in was how distilled could I make a life, and how I could cross what is kind of trivialized as a domestic novel with a novel of ideas, a philosophical novel.
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.
Writing a short story is like painting a picture on the head of a pin. And just getting everything to fit is - sometimes seems impossible. Writing a novel, though, is - has its own challenges of scope. And I think of that as painting a mural, where the challenge is that if you are close enough to work on it, you're too close to see the whole thing.
At the bottom of a Peretti novel is the biblical view of things, the Christian message. Whether you're a Christian or not, you're still going to have to deal with good versus evil.
I really do love 'Panama.' But I'd also have to admit that right now, if I were driven to write another novel like that, I wouldn't even try to find a publisher for it. It simply wouldn't be published. I'd be writing it to put in my closet upstairs.
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.
In a way, novel writing is such a permanently student lifestyle. When it comes to movies, and you have to go to these meetings and try and impress people and get money out of them, I feel as though I'm playacting at being somebody who's grown up.
Had we settled in Pennsylvania, there's no way I would have written a Confederate novel.
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.
As to the differences between game work and novel writing, well, obviously the former is a lot less lonely - you're in and out of meetings all the time, bouncing stuff back and forth with the level designers, the art department, the animation team, so forth.
In college - while figuring the things out that most people do in college - I had no game. No confidence. I had Birkenstocks. And overalls. A budding romance novel addiction. But no cool. No poise. I was trying on a thousand different personalities, but a lot of them were formed by the perceptions of others.
I didn't read comic books, growing up. I was more of a science fiction/fantasy novel guy. I loved reading Edgar Rice Burroughs' 'Tarzan' and that kind of stuff.
My first three-sisters novel in a while, 'Sandcastles' tells the story of the Sullivan family - two passionate artists and their three wildly different daughters. There's also a renegade nun and a mystery man, but I don't want to give too much away!
I was very afraid to write a novel - it was a dream for a very long time, and it was one of the few things that I was afraid to try.
'Sanctus' was done on speculation. I had no agent or publisher. I was being sensible, I suppose, by writing a standalone novel. I figured if that one didn't work, no one would be interested in reading a sequel.
I fantasised about becoming an author and wrote my first book at 18 - an introspective novel set in the 1920s.
I love the movies, and when I go to see a movie that's been made from one of my books, I know that it isn't going to be exactly like my novel because a lot of other people have interpreted it. But I also know it has an idea that I'll like because that idea occurred to me, and I spent a year, or a year and a half of my life working on it.
'The Golden Compass' became a bad experience because the studio didn't have faith in the strength of the ideas of the novel, which is ironic because it's one of the greatest fantasy novels ever written, if not the greatest, and they took the religion out of it and tried to turn it into a popcorn movie.
The novel is just fine: It's novelists who aren't doing so well.
