Novelist - Wikipedia

Writer of novels
novelist
is an
author
or
writer
of
novels
, novelists can also write in other
genres
of both
fiction
and
non-fiction
. Some novelists are professional novelists, thus make a
living
writing novels and other fiction, while others aspire to support themselves in this way or write as an
avocation
. Most novelists struggle to have their
debut novel
published, but once published they often continue to be published, although very few become literary celebrities, thus gaining prestige or a considerable income from their work.
Leo Tolstoy
, one of the most acknowledged Russian novelists
Novelists come from a variety of backgrounds and social classes, and frequently this shapes the content of their works.
Public reception of a novelist's work
, the
literary criticism
commenting on it, and the novelists' incorporation of their own experiences into works and characters can lead to the author's personal life and identity being associated with a novel's fictional content. For this reason, the environment within which a novelist works and the reception of their novels by both the public and publishers can be influenced by their demographics or identity. Similarly, some novelists have creative identities derived from their focus on different
genres of fiction
, such as
crime
romance
or
historical novels
While many novelists compose fiction to satisfy personal desires, novelists and commentators often ascribe a particular social responsibility or role to novel writers. Many authors use such moral imperatives to justify different approaches to novel writing, including activism or different approaches to representing reality "truthfully."
Novelist is a term derivative from the term "novel" describing the "writer of novels." The
Oxford English Dictionary
recognizes other definitions of novelist, first appearing in the 16th and 17th centuries to refer to either "An innovator (in thought or belief); someone who introduces something new or who favours novelty" or "An inexperienced person; a novice."
However, the
OED
attributes the primary contemporary meaning of "a writer of novels" as first appearing in the 1633 book "East-India Colation" by C. Farewell citing the passage "It beeing a pleasant observation (at a distance) to note the order of their Coaches and Carriages..As if (presented to a Novelist) it had bin the spoyles of a Tryumph leading Captive, or a preparation to some sad Execution"
According to the
Google
Ngrams, the term novelist first appears in the Google Books database in 1521.
Process, publication and profession
edit
William Faulkner's
Underwood
Universal Portable typewriter in his office at
Rowan Oak
, which is now maintained by the
University of Mississippi
in
Oxford
as a museum
The difference between professional and amateur novelists often is the author's ability to publish. Many people take up novel writing as a hobby, but the difficulties of completing large scale fictional works of quality prevent the completion of novels. Once authors have completed a novel, they often will try to publish it. The publishing industry requires novels to have accessible profitable markets, thus many novelists will
self-publish
to circumvent the editorial control of publishers.
Self-publishing
has long been an option for writers, with
vanity presses
printing bound books for a fee paid by the writer. In these settings, unlike the more traditional publishing industry, activities usually reserved for a publishing house, like the distribution and promotion of the book, become the author's responsibility. The rise of the Internet and
electronic books
has made self publishing far less expensive and a realistic way for authors to realize income.
Novelists apply a number of different methods to writing their novels, relying on a variety of approaches to inspire creativity.
Some communities actively encourage amateurs to practice writing novels to develop these unique practices, that vary from author to author. For example, the internet-based group,
National Novel Writing Month
, encourages people to write 50,000-word novels in the month of November, to give novelists practice completing such works. In the 2010 event, over 200,000 people took part – writing a total of over 2.8 billion words.
Novelists do not usually publish their
first novels
until later in life. However, many novelists begin writing at a young age. For example,
Iain Banks
began writing at eleven, and at sixteen completed his first novel, "The Hungarian Lift-Jet", about international arms dealers, "in pencil in a larger-than-foolscap log book".
However, he was thirty before he published his first novel, the highly controversial
The Wasp Factory
in 1984. The success of this novel enabled Banks to become a full-time novelist. Often an important writers'
juvenilia
, even if not published, is prized by scholars because it provides insight into an author's biography and approach to writing; for example, the
Brontë family
's juvenilia that depicts their imaginary world of
Gondal
, currently in the
British Library
, has provided important information on their development as writers.
Occasionally, novelists publish as early as their teens. For example,
Patrick O'Brian
published his first novel,
Caesar: The Life Story of a Panda-Leopard
, at the age of 15, which brought him considerable critical attention.
Similarly,
Barbara Newhall Follett
's
The House Without Windows
, was accepted and published in 1927 when she was 13 by the
Knopf
publishing house and earned critical acclaim from the
New York Times
, the
Saturday Review
, and
H. L. Mencken
10
Occasionally, these works will achieve popular success as well. For example, though
Christopher Paolini
's
Eragon
(published at age 15) was not a great critical success, its popularity among readers placed it on the
New York Times
Children's Books Best Seller list
for 121 weeks.
11
First-time novelists of any age often are unable to have their works published, because of a number of reasons reflecting the inexperience of the author and the economic realities of publishers. Often authors must find advocates in the publishing industry, usually
literary agents
, to successfully publish their
debut novels
12
Sometimes new novelists will
self-publish
, because publishing houses will not risk the capital needed to market books by an unknown author to the public.
13
14
Responding to the difficulty of successfully writing and publishing first novels, especially at a young age, there are a number of awards for young and first time novelists to highlight exceptional works from new and/or young authors (for examples see
Category:Literary awards honouring young writers
and
Category:First book awards
).
Novelist
James Patterson
, one of the most monetarily successful contemporary novelists, who made $70 million in 2010
Novelist
Shawn Wong
, at work on his first novel which was published in 1979.
In contemporary British and American publishing markets, most authors receive only a small monetary advance before publication of their debut novel; in the rare exceptions when a large print run and high volume of sales are anticipated, the advance can be larger.
15
However, once an author has established themselves in print, some authors can make steady income as long as they remain productive as writers. Additionally, many novelists, even published ones, will take on outside work, such as
teaching creative writing in academic institutions
, or leave novel writing as a secondary hobby.
16
17
Author J. K. Rowling reads from
Harry Potter and the Sorcerer's Stone
at the Easter Egg Roll at White House. Screenshot taken from official White House video.
Few novelists become literary celebrities or become very wealthy from the sale of their novels alone. Often those authors who are wealthy and successful will produce extremely popular genre fiction. Examples include authors like
James Patterson
, who was the highest paid author in 2010, making 70 million dollars, topping both other novelists and authors of non-fiction.
18
Other famous literary millionaires include popular successes like
J. K. Rowling
, author of the
Harry Potter
series,
Dan Brown
author of
The Da Vinci Code
, historical novelist
Bernard Cornwell
, and
Twilight
author
Stephenie Meyer
Personal experience
edit
"[the novelist's] honesty is bound to the vile stake of his megalomania [...]
The novelist is the sole master of his work. He is his work."
The personal experiences of the novelist will often shape what they write and how readers and critics will interpret their novels. Literary reception has long relied on practices of reading literature through
biographical criticism
, in which the author's life is presumed to have influence on the topical and thematic concerns of works.
20
21
Some veins of criticism use this information about the novelist to derive an understanding of the
novelist's intentions
within his work. However, postmodern literary critics often denounce such an approach; the most notable of these critiques comes from
Roland Barthes
who argues in his essay "
Death of the Author
" that the author no longer should dictate the reception and meaning derived from their work.
Other, theoretical approaches to
literary criticism
attempt to explore the author's unintentional influence over their work; methods like
psychoanalytic theory
or
cultural studies
, presume that the work produced by a novelist represents
fundamental parts of the author's identity
Milan Kundera
describes the tensions between the novelist's own identity and the work that the author produces in his essay in
The New Yorker
titled "What is a novelist?"; he says that the novelist's "honesty is bound to the vile stake of his megalomania [...]The work is not simply everything a novelist writes-notebooks, diaries, articles. It is the end result of long labor on an aesthetic project[...]The novelist is the sole master of his work. He is his work."
19
The close intimacy of identity with the novelist's work ensures that particular elements, whether for class, gender, sexuality, nationality, race, or place-based identity, will influence the reception of their work.
Socio-economic class
edit
Historically, because of the amount of leisure time and education required to write novels, most novelists have come from the upper or the educated middle classes. However, working men and women began publishing novels in the twentieth century. This includes in Britain
Walter Greenwood
's
Love on the Dole
(1933), from America
B. Traven
's,
The Death Ship
(1926) and
Agnes Smedley
Daughter of Earth
(1929) and from the Soviet Union
Nikolay Ostrovsky
's
How the Steel Was Tempered
(1932). Later, in 1950s Britain, came a group of writers known as the "
Angry young men
," which included the novelists
Alan Sillitoe
and
Kingsley Amis
, who came from the working class and who wrote about
working class culture
22
23
Some novelists deliberately write for a working class audience for political ends, profiling "the working classes and working-class life; perhaps with the intention of making propaganda".
24
Such literature, sometimes called
proletarian literature
, maybe associated with the political agendas of the
Communist party
or left wing sympathizers, and seen as a "device of revolution".
25
However, the British tradition of working class literature, unlike the Russian and American, was not especially inspired by the Communist Party, but had its roots in the
Chartist movement
, and
socialism
, amongst others.
26
National or place-based identity
edit
Novelists are often classified by their national affiliation, suggesting that novels take on a particular character based on the national identity of the authors. In some literature, national identity shapes the self-definition of many novelists. For example, in
American literature
, many novelists set out to create the "
Great American Novel
", or a novel that defines the American experience in their time. Other novelists engage politically or socially with the identity of other members of their nationality, and thus help define that national identity. For instance, critic Nicola Minott-Ahl describes Victor Hugo's
Notre-Dame de Paris
directly helping in the creation of French political and social identity in mid-nineteenth century France.
27
Some novelists become intimately linked with a particular place or geographic region and therefore receive a
place-based identity
. In his discussion of the history of the association of particular novelists with place in
British literature
, critic D. C. D. Pocock, described the sense of place not developing in that canon until a century after the novel form first solidified at the beginning of the 19th century.
28
Often such
British regional literature
captures the social and local character of a particular region in Britain, focussing on specific features, such as dialect, customs, history, and landscape (also called
local colour
): "Such a locale is likely to be rural and/or provincial."
29
Thomas Hardy
's (1840–1928) novels can be described as regional because of the way he makes use of these elements in relation to a part of the West of England, that he names
Wessex
. Other British writers that have been characterized as regional novelists, are the
Brontë sisters
, and writers like
Mary Webb
(1881–1927),
Margiad Evans
(1909–58) and
Geraint Goodwin
(1903–42), who are associate with the
Welsh border
region.
George Eliot
(1801–86) on the other hand is particularly associated with the rural English Midlands, whereas
Arnold Bennett
(1867–1931) is the novelist of the
Potteries
in
Staffordshire
, or the "Five Towns", (actually six) that now make-up
Stoke-on-Trent
. Similarly, novelist and poet
Walter Scott
's (1771–1832) contribution in creating a unified identity for
Scotland
and were some of the most popular in all of Europe during the subsequent century. Scott's novels were influential in recreating a Scottish identity that the upper-class British society could embrace.
The
Scott Monument
on Edinburgh's
Princes Street
In American fiction, the concept of
American literary regionalism
ensures that many genres of novel associated with particular regions often define the reception of the novelists. For example, in writing
Western novels
Zane Grey
has been described as a "place-defining novelist", credited for defining the western frontier in America consciousness at the beginning of the 20th century while becoming linked as an individual to his depiction of that space.
30
Similarly, novelist such as
Mark Twain
William Faulkner
Eudora Welty
, and
Flannery O'Connor
are often describe as writing within a particular tradition of
Southern literature
, in which subject matter relevant to the South is associated with their own identities as authors. For example, William Faulkner set many of his short stories and novels in
Yoknapatawpha County
31
which is based on, and nearly geographically identical to, Lafayette County, of which his hometown of
Oxford, Mississippi
32
In addition to the geographical component of Southern literature, certain themes have appeared because of the similar histories of the Southern states in regard to
slavery
, the
American Civil War
, and
Reconstruction
. The
conservative
culture in the South has also produced a strong focus by novelists from there on the significance of family, religion, community, the use of the
Southern dialect
, along with a strong sense of place.
33
The South
's troubled history with
racial
issues has also continually concerned its novelists.
34
In
Latin America
a literary movement called
Criollismo
or costumbrismo was active from the end of the 19th century to the beginning of the 20th century, which is considered equivalent to American literary regionalism. It used a realist style to portray the scenes, language, customs and manners of the country the writer was from, especially the lower and peasant classes,
criollismo
led to an original literature based on the continent's natural elements, mostly epic and foundational. It was strongly influenced by the wars of independence from
Spain
and also denotes how each country in its own way defines
criollo
, which in
Latin America
refers to locally-born people of Spanish ancestry.
35
Gender and sexuality
edit
Novelists often will be assessed in contemporary criticism based on their gender or treatment of gender. Largely, this has to do with the impacts of cultural expectations of gender on the literary market, readership and authorship.
36
37
Literary criticism
, especially since the rise of
feminist theory
, pays attention to how women, historically, have experienced a very different set of writing expectations based on their gender; for example, the editors of
The Feminist Companion to Literature in English
point out: "Their texts emerge from and intervene in conditions usually very different from those which produced most writing by men."
37
It is not a question of the subject matter or political stance of a particular author, but of her
gender
: her position as a woman within the literary marketplace. However, the publishing market's orientation to favor the primary reading audience of women may increasingly skew the market towards female novelists; for this reason, novelist
Teddy Wayne
argued in a 2012
Salon
article titled "The agony of the male novelist" that midlist male novelists are less likely to find success than midlist female novelist, even though men tend to dominate "literary fiction" spaces.
17
The position of women in the literary marketplace can change public conversation about novelists and their place within popular culture, leading to debates over sexism. For example, in 2013, American female novelist
Amanda Filipacchi
wrote a New York Times editorial challenging Wikipedia's categorization of American female novelists
within a distinct category
, which precipitated a significant amount of press coverage describing that Wikipedia's approach to categorization as sexism. For her, the public representation of women novelists within another category marginalizes and defines women novelists like herself outside of a field of "American novelists" dominated by men.
38
However, other commentators, discussing the controversy also note that by removing such categories as "Women novelist" or "Lesbian writer" from the description of gendered or sexual minorities, the discover-ability of those authors plummet for other people who share that identity.
39
Similarly, because of the conversations brought by feminism, examinations of masculine subjects and an author's performance of "maleness" are a new and increasingly prominent approach critical studies of novels.
40
41
For example, some academics studying
Victorian fiction
spend considerable time examining how masculinity shapes and effects the works, because of its prominence within fiction from the Victorian period.
42
Traditionally, the publishing industry has distinguished between "
literary fiction
", works lauded as achieving greater
literary merit
, and "
genre fiction
", novels written within the expectations of genres and published as consumer products.
43
Thus, many novelists become slotted as writers of one or the other.
43
Novelist
Kim Wright
, however, notes that both publishers and traditional literary novelist are turning towards genre fiction because of their potential for financial success and their increasingly positive reception amongst critics.
43
Wright gives examples of authors like
Justin Cronin
Tom Perrotta
and
Colson Whitehead
all making that transition.
43
However, publishing genre novels does not always allow novelist to continue writing outside the genre or within their own interests. In describing the place within the industry, novelist
Kim Wright
says that many authors, especially authors who usually write literary fiction, worry about "the danger that genre is a cul-de-sac" where publishers will only publish similar genre fiction from that author because of reader expectations, "and that once a writer turns into it, he'll never get out."
43
Similarly, very few authors start in genre fiction and move to more "literary" publications; Wright describes novelists like
Stephen King
as the exception rather than the norm.
43
Other critics and writers defending the merits of genre fiction often point towards King as an example of bridging the gap between popular genres and literary merit.
44
45
Both literary critics and novelists question what role novelists play in society and within art. For example,
Eudora Welty
writing in 1965 for in her essay "Must the Novelist Crusade?" draws a distinction between novelists who report reality by "taking life as it already exists, not to report it, but to make an object, toward the end that the finished work might contain this life inside it, and offer it to the reader" and journalists, whose role is to act as "crusaders" advocating for particular positions, and using their craft as a political tool.
46
Similarly, writing in the 1950s,
Ralph Ellison
in his essay "Society, Morality, and the Novel", sees the novelist as needing to "re-create reality in the forms which his personal vision assumes as it plays and struggles with the vivid illusory "eidetic-like" imagery left in the mind's eye by the process of social change."
47
However, Ellison also describes novelists of the
Lost Generation
, like
Ernest Hemingway
, not taking full advantage of the moral weight and influence available to novelists, pointing to Mark Twain and Herman Melville as better examples.
47
A number of such essays, such as literary critic
Frank Norris
's "Responsibilities of a Novelist", highlight such moral and ethical justifications for their approach to both writing novels and criticizing them.
48
When defining her description of the role of the modernist novelist in the essay "
Modern Fiction
",
Virginia Woolf
argues for a representation of life not interested in the exhaustive specific details represented in
realism
in favor of representing a "myriad of impressions" created in experience life.
49
Her definition made in this essay, and developed in others, helped define the literary movement of
modernist literature
. She argues that the novelist should represent "not a series of gig-lamps symmetrically arranged; [rather] life is luminous halo, a semitransparent envelope surrounding us from the beginning of the conscious to the end. Is it not the task of the novelist to convey this varying, this unknown and uncircumscribed spirit, whatever aberration or complexity it may display, with as little mixture of the alien and external as possible?"
49
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