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I couldn't sit down and write a novel or a short story - even now - because of my dyslexia. But I learned narration through movies.
Whether I'm in front of the camera, behind the camera, at my computer writing a novel or a screenplay, as long as I get to entertain someone out there, I'm happy.
"The Lucky One" is at its heart a romance novel, elevated however by Nicholas Sparks' persuasive storytelling. Readers don't read his books because they're true, but because they ought to be true.
It's very important to set your place in a concrete environment. I think Chekhov said that the important thing when you have a play or any kind of novel is to set the roots in a concrete place.
This story is not and never was meant to challenge anyone's faith; however, if one's faith can be shaken by stories in a humorous novel, one may have a bit more praying to do.
I am, incidentally, the only writer to have received the Somerset Maugham award twice - the first time for my first novel, the second time for my second first 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.
Yes, writing a novel, my boy, is like driving pigs to market - you have one of them making a bolt down the wrong lane; another won't get over the right stile.
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.
Who are those ever multiplying authors that with unparalleled fecundity are overstocking the world with their quick succeeding progeny? They are novel-writers.
I never know exactly where I'm going with a story, whether it's a short story or a novel. If I did I'd soon grow bored of it. The fun, for me, is in the finding out and the making sense of it.
You know, the point of a novel - or to me, the point of a novel, the gift of a novel is to go really deeply inside people's lives and inside their personal experiences.
Film is a medium of clear lines and broad strikes - which can be fantastic - but compared to the subtleties and nuances of a novel, it doesn't even get close.
I started writing when I was a journalist. But every time I sat down to write a novel or a story, I ended up writing about myself, which was incredibly annoying and self-involved.
The book that made a lasting impression was the one my mother gave each of us when she decided we were ready for our first "adult novel," Lucy Maud Montgomery's The Blue Castle.
At DePauw, I was teaching writing and fiction. The things I wanted to teach, more than anything else, were form and theory of the novel, of narrative. I liked those classes.
What I couldn't help noticing was that I learned more about the novel in a morning by trying to write a page of one than I'd learned in seven years or so of trying to write criticism
To read a novel is to wonder constantly, even at moments when we lose ourselves most deeply in the book: How much of this is fantasy, and how much is real?
You try spending six months sitting at somebody's bedside, waiting for them to die and then tell me that the happy-ending love story isn't one of God's good gifts.
Ever since the '70s, Maj Sjowall and Per Wahloo were the godfathers of Scandinavian crime. They broke the crime novel in Scandinavia from the kiosks and into the serious bookstores.
Some writers can produce marvelous plots without planning it out, but I can't. In particular I need to know the structure of a novel: what's going to happen in each chapter and each scene.