For me, writing a short story is much, much harder than writing a novel.
The 'information novel' shouldn't be a curiosity. It should be absolutely mainstream.
When one is writing a novel in the first person, one must be that person.
I had a writing professor at Brandeis who told me I'd never make it - and when I sold my first novel a few years later, I sent him a copy!
'The One-Eyed Man' is a novel that was one I never intended to write.
I'm writing another novel and I know what I'm going to do after, which may be something more like this again, maybe some strange mixture of fiction and non-fiction.
If you're reading a novel that was written in 1964, you'll find out more about 1964 than if you're reading a nonfiction book written in 1964 because you're hearing how language was actually used and hearing what people's actual concerns were at the beginning of the 1960s.
The suspense of a novel is not only in the reader, but in the novelist, who is intensely curious about what will happen to the hero.
The building of the architecture of a novel - the craft of it - is something I never tire of.
'The Dovekeepers' is a fantastic novel written by Alice Hoffman; it was a bestselling novel, and I fell in love with the book and bought the rights to it.
And you can tell the writers who do it - Robert Stone, for example, who with each new novel is doing something new. I appreciate that in other writers.
The great advantage of a novel is you can put in whatever comes into your head - it has the same shape as the human brain.
When I'm writing a novel, I'm dealing with a double life. I live in the present at the same time that I live in the past with my characters. It is this that makes a novelist so eccentric and unpleasant.
In a novel, my feelings and sense of outrage can find a broader means of expression which would be more symbolic and applicable to many European countries.
'Daredevil: Season One' is kind of in-between. On the one hand, sure, it's a graphic novel. But on the other, it's beholden to existing continuity, and we're still telling the story in issue-length chapters. So it's not that different to writing a miniseries, and I've done plenty of those.
My childhood growing up in that part of Glasgow always sounds like some kind of sub-Catherine Cookson novel of earthy working-class immigrant life, which to some extent it was, but it wasn't really as colourful that.
I did not know at first that it would be a series; I discovered after the first novel that I had more to say about it, so I did another. And another, and then the readers demanded yet more.
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.
My first published novel, 'American Rust,' took three and a half years of full-time work to write. But I wrote two apprentice novels before that.
A fictionalised memoir of my father would be a failure as a novel.
The final test for a novel will be our affection for it, as it is the test of our friends, and of anything else which we cannot define.
What is the distance between here and there, between now and then, between right and wrong? In Greg Baxter's pellucid first novel, 'The Apartment,' it may be simply the length of a day - but a day in which one travels surprisingly far, literally and figuratively.
Growing up in the English countryside, I feel like I'm in a Jane Austen novel when I walk around. I just feel comfortable and confident in those surroundings.
I started writing prose before I started writing television. Then 'Breaking Bad' came around, and to me, writing 'Breaking Bad' is like writing a novel each season. So it's been very creatively satisfying writing for the show.
The evolvement of proteolysis as a centrally important regulatory mechanism is a remarkable example for the development of a novel biological concept and the accompanying battles to change paradigms.
I was thinking about what I wanted to write next, after my first novel, and had decided that I wanted to write a story with a lot of strong female characters in it.
It's funny because you know the novel process: you get the drafts, you get the galley, and then you get the galley proofs. You have opportunities to change things all along. But the further along in the process you go, the more careful you have to be in making those changes, and the smaller the changes have to be.
Publishers love to compartmentalize, and 'Second Chance' was not an easy novel to define.
I'm glad I wrote them when I did because I think if I were to write my first novel now, it would be a different book, and it may not be the book that everybody wants to read. But if I were given a red pen now, and I went back... I'd take that thing apart.
We have learned in recent years to translate almost all of political life in terms of conspiracy. And the spy novel, as never before, really, has come into its own.
I love working with genre. And to me, the Victorian novel is the flourishing ancestor I'm always trying to access when I write.
I've always loved short stories. Even before I was a writer, I was reading short stories - there were certain writers where I just felt like they could do in a short story what so many writers needed a whole novel to do, and that was really inspiring to me.
I don't like 'graphic novel.' It's a word that publishers created for the bourgeois to read comics without feeling bad. Comics is just a way of narrating - it's just a media type.
Sometimes, a novel is like a train: the first chapter is a comfortable seat in an attractive carriage, and the narrative speeds up. But there are other sorts of trains, and other sorts of novels. They rush by in the dark; passengers framed in the lighted windows are smiling and enjoying themselves.
When I start a new novel and find myself diverted by domestic activities, many of which I genuinely enjoy, I panic that I will never write another word.
God, I just love 'A Journey to the End of the Millennium,' by A. B. Yehoshua. My favorite novel by an American Jew is probably 'Humboldt's Gift.'
