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“There is nothing in the world more helpless and irresponsible and depraved than a man in the depths of an ether binge. It makes you behave like the village drunkard in some early Irish novel. Total loss of all basic motor skills, blurred vision, no balance, numb tongue - the mind recoils in horror, unable to communicate with the spinal column. Which is interesting, because you can actually watch yourself behaving in this terrible way, but you can’t control it.”

“I think readers appreciate those of us who stay in the trenches and fight the good fight even when times get tough. I know that I, personally, lost respect for writers who, when there was a downturn in the market, started shouting from the rooftops that they wrote thrillers and suspense novels rather than horror. As far as I'm concerned, those wussboys should sever all ties with the horror community if that's the way they feel and get out of the way so real horror writers can do their work.”

“Whether it's Mrs Dalloway's lost love or Thérèse Raquin's burgeoning horror, The Paying Guests reminds us of every great novel we've gasped or winced at, or loudly urged the protagonists through, and it does not relent. . . . The Paying Guests is the apotheosis of [Waters'] talent; at least for now. I have tried and failed to find a single negative thing to say about it. Her next will probably be even better. Until then, read it, Flaubert, Zola, and weep.”

“By writing a horror novel where this inexplicable disorder takes over in our ordered lives, you make order look better by comparison. But below that, there's a part of us that responds to the Who bashing their instruments to pieces on the stage. There's a very primitive part that says, "Do it some more."”

“I had an idea for a medical conspiracy thriller. Since it was non-horror, I didn't want the publishers and editors bringing a lot of baggage - my history as a genre writer in the SF and horror fields, for instance - to the novel when they read it. I wanted them to consider the book solely on its own merits. So I called myself Colin Andrews. I was tired of seeing my books at floor level. Not that Herman Wouk and Phyllis Whitney and William Wharton are bad company, but I wanted to be up at eye level for a change, where people with bad backs could get a chance to see my books.”

“A horror novel should reveal to you that you are falling apart. That there are ways your imagination can be made different. Can threaten what you think is. You should be holding onto that tree or rock screaming. Or laughing. Not at absurdity, either: absurdism is just a bourgeois and reactionary nostalgia for good, stable meaning.”

“When I write my novels, I'm not writing them to make political points. I'm writing them because I passionately love monsters and the weird and horror stories and strange situations and surrealism, and what I want to do is communicate that. But, because I come at this with a political perspective, the world that I'm creating is embedded with many of the concerns that I have. But I never let them get in the way of the monsters.”

“I'd never imagined myself writing at all until I was almost 30. And horror films weren't to my taste, at least the super popular (slasher-y) ones of the day back then. The first novel I ever loved as a kid was Frankenstein, and I was always a crazy Hitchcock and Polanski fan... but I never saw myself - a square spazzy girl from the suburbs - writing anything that would horrify anyone. Or so I thought.”