Novelist

Similarly, some novelists have creative identities derived from their focus on different genres of fiction, such as crime, romance or historical 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.

"[1] 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"[1] According to the Google Ngrams, the term novelist first appears in the Google Books database in 1521.

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".

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.

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.

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.

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).

[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.

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.

"[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.

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.

[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.

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.

[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.

[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.

"[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.

[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.

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?