Quotes About Fiction

Everybody should read fiction… I don’t think serious fiction is written for a few people. I think we live in a stupid culture that won’t educate its people to read these things. It would be a much more interesting place if it would. And it’s not just that mechanics and plumbers don’t read literary fiction, it’s that doctors and lawyers don’t read literary fiction. It has nothing to do with class, it has to do with an anti-intellectual culture that doesn’t trust art.

I do read a lot, and I think in recent years the ratio between the amount of non-fiction and fiction has tipped quite considerably. I did read fiction as a teenager as well, mostly because I was forced to read fiction, of course, to go through high school.

Some major writers have a huge impact, like Ayn Rand, who to my mind is a lousy fiction writer because her writing has no compassion and virtually no humor. She has a philosophical and economical message that she is passing off as fiction, but it really isn't fiction at all.

There are so many stories to tell in the worlds of science fiction, the worlds of fantasy and horror that to confine yourself to even doing historical revisionist fiction, whatever you want to call it - mash-ups, gimmick lit, absurdist fiction - I don't know if I want to do that anymore.

When I began to write fiction that I knew would be published as science fiction, [and] part of what I brought to it was the critical knowledge that science fiction was always about the period in which it was written.

I think all of us begin as writers. I wanted to be a writer from the time I as eight, long before I heard of jazz. The question is, once you have that obsession, what is your subject going to be and you often don't know for some time. It might become fiction, it might be non-fiction, and if it's non-fiction it can go in any number of directions.

I was reading Raymond Chandler very much with the feminist eye. In six of his seven novels, it's the woman who presents herself in a sexual way, who is the main bad person. And then you start reading more fiction, whether crime fiction or straight fiction, it's just bad girls trying to make good boys do bad things, going all the way back to Adam and Eve. The woman that thou gavest me made me do it, Adam says to God.

The difference between travel writing as fiction is the difference between recording what the eye sees and discovering what the imagination knows. Fiction is pure joy - how sad that I could not reinvent the trip as fiction.

For me, it's a way to find a fiction within a fiction. To find a way to uncover that blunder within the "lie," because when you look closer, every "lie" - and I say that with quotation marks - can be much more complicated. Because that is what fiction is: it's probably the least important thing in the world. It's rich, but it is put-on, it passes the time. It borrows from the world, but it does not invent it.

I think it's important to humanize history; fiction can help us remember. A lot of books I've read in the past have been so much more important than textbooks - there is an emotional connection with one particular person. I'm very much of a research-is-important type of fiction writer, even for contemporary fiction. I wrote about blogs in America and I've never blogged. But I read many, many blogs - usually about feminist things, or about race, or about hair.

I don't believe that fiction is dead. I know there are some people who believe that it's an outdated art form, and that to express truth today you need to work in different forms, to write books where it's perhaps not clear what's fiction and what's memoir. I have nothing against those books and love many of them very much. But we have enough space for everyone, traditional realists and hybrid writers, and experimental writers all.

There's the fact that American fiction is basically the most apolitical fiction on the globe. A South American writer wouldn't dare think of writing a novel if it didn't allude to the system into which these people are orchestrated - or an Eastern European writer, or a Russian writer, or a Chinese writer. Only American writers are able to imagine that the government and the corporations - all of it - seem to have no effect whatsoever.

I always knew I wanted to write really imaginative fiction - fiction that was very different from my real life.

Reading Tomato Red-the first Daniel Woodrell novel I came upon-was a transformative experience. It expanded my sense of the possibilities not only of crime fiction, but of fiction itself-of language, of storytelling. Time and again, his work just dazzles and humbles me. God bless Busted Flush for these glorious reissues. It's a service to readers everywhere, and a great gift.

External realities - worlds of politics, economics, law, war, interpersonal and social relations - are part of prose fiction. Fiction also includes the realities of a character's interior language. Poetry can encompass the same realities, but in compressed, intensified language, which creates entirely different degrees of emotional force.

A good scenario doesn't make a good science fiction story - but it's a setting within which a good science fiction story might be told.

The brightest minds in our field have been trying to find a definition of science fiction for these past seventy years. The short answer is, science fiction stories are given as possible, not necessarily here and now, but somewhere, sometime.

The novels that get praised in the NY Review of Books aren't worth reading. Ninety-seven percent of science fiction is adolescent rubbish, but good science fiction is the best and only literature of our times.

I read very widely, both non-fiction and fiction, so I don't think there's a single writer who influences me.

When you're writing a book that is going to be a narrative with characters and events, you're walking very close to fiction, since you're using some of the methods of fiction writing. You're lying, but some of the details may well come from your general recollection rather than from the particular scene. In the end it comes down to the readers. If they believe you, you're OK. A memoirist is really like any other con man; if he's convincing, he's home. If he isn't, it doesn't really matter whether it happened, he hasn't succeeded in making it feel convincing.

Science fiction does not remain fiction for long. And certainly not on the Internet.

To those searching for truth -- not the truth of dogma and darkness but the truth brought by reason, search, examination, and inquiry, discipline is required. For faith, as well intentioned as it may be, must be built on facts, not fiction -- faith in fiction is a damnable false hope.

The gospel is fiction when judged by the empire, but the empire is fiction when judged by the gospel.

There is no excuse for anyone to write fiction for public consumption unless he has been called to do so by the presence of a gift. It is the nature of fiction not to be good for much unless it is good in itself.

To my mind, the prose in a non-fiction work that's going to endure has to be of the same quality as the prose in a work of fiction that endures.

As a journalist, I would talk to writers, directors, creative people, and discover that for an awful lot of them, the moment they became successful, that was all they were allowed to do. So you end up talking to the bestselling science-fiction author who wrote a historical-fiction novel that everybody loved, but no one would publish.

On the plane, I like to read fiction set in the location I'm going to. Fiction is in many ways more useful than a guidebook, because it gives you those little details, a sense of the way a place smells, an emotional sense of the place. So, I'll bring Graham Greene's The Quiet American if I'm going to Vietnam. It's good to feel romantic about a destination before you arrive.

I'm not so fond of the sort of science fiction that isn't really science fiction but is sometimes thought to be - Gothic princesses and white horses and bats and castles and things.

If you read a book that's fiction and you get caught in the characters and the plot, and swept away, really, by the fiction of it - by the non-reality - you sometimes wind up changing your reality as well. Often, when the last page is turned, it will haunt you.

Incidentally, I am intrigued by how many European and Latin American writers expressed their political views in the columns they routinely wrote or write in the popular press, like Saramago, Vargas Llosa, and Eco. This strikes me as one way of avoiding opinionated fiction, and allowing your imagination a broader latitude. Similarly, fiction writers from places like India and Pakistan are commonly expected to provide primers to their country's histories and present-day conflicts. But we haven't had that tradition in Anglo-America.

I'm not a science-fiction writer. I've only written one book that's science fiction, and that's Fahrenheit 451. All the others are fantasy.

Fiction is truth. I think fiction is the truest thing there ever was. My whole effort is to remove that distinction. The writer is the midwife of understanding. It's very important for me to tell politics like a story, to make it real.

It's my experience that people don't think of fiction writing as being as intellectually serious as other kinds of writing in academia and so without a career as a critic or essayist you can be treated as something of a spiritual medium - a fraud - for "just" writing fiction.

One day I decided to move towards documentaries or to move to more directing in documentaries at this point in my career. Why documentaries? I also love fiction. I would love to direct a fiction movie as well. But I think where I come from, reality is so interesting and has in it so many good stories to tell, this is why I'm doing that. I'm enjoying that.

All fiction is largely autobiographical and much autobiography is, of course, fiction.

In American fiction, belief is like that. Belief as upbringing, belief as social fact, belief as a species of American weirdness: our literary fiction has all of these things. All that is missing is the believer.

The fiction of Ayn Rand is as low as you can get re fiction. I hope you picked it up off the floor of the subway and threw it in the nearest garbage pail. She makes Mickey Spillane look like Dostoevsky.

Its a heartening fact about the human race that utopian fiction precedes dystopian fiction in the evolution of literature.

I'd probably be a super wealthy guy if I had sat around writing songs and getting them placed like everyone else I know. But I write songs about people or after I meet them and they're somewhat biographical - they're fiction but also non-fiction.

Great fiction has been written out of the very darkest circumstances of our narco violence, and nothing written in either fiction or nonfiction has penetrated that darkness so memorably - you can even say beautifully, a relentless riveting forensic dark beauty that some readers in fact find themselves unable to endure - as Roberto Bolaño's 2666. Especially in "The Part about the Crimes." But here's the thing: nobody would call 2666 a "narco novel."

There are gentle souls who would pronounce Lolita meaningless because it does not teach them anything. I am neither a reader nor a writer of didactic fiction...For me a work of fiction exists only insofar as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm.

Life, my dear Watson, is infinitely stranger than fiction; stranger than anything which the mind of man could invent. We could not conceive the things that are merely commonplace to existence. If we could hover over this great city, remove the roofs, and peep in at the things going on, it would make all fiction, with its conventionalities and foreseen conclusions flat, stale and unprofitable.

As an actress, I think I really understand that stage where you think you are picking reality in order to feed the fiction, but it happens to be the contrary. It's the fiction that suddenly feeds your reality. And you don't know how it has been done. That's the kind of magical transposition that is art.

The nice thing about 'Futurama' for me personally was that it was a way to honor some of the traditional ideas in literary science fiction, not so much movie or television science fiction - although we have that too, obviously. Our situation, a workplace comedy, led to all sorts of stuff.

Often the lines that define the traditional European arrangement of fiction, non-fiction, history, etc. are not useful. These lines can distort the world we, people who look like me, live in - and by the world, I mean our personal experience of it.

All my books are made up of other books. They're all deeply structured on other fiction, because I was a student in fiction and I didn't have much actual living to draw on. I suspect a lot of other people's novels are like that, too, though they might be slower to talk about it.

I would say that Futurama: Bender's Big Score requires a lot of concentration to watch. It's a very complicated time-travel story. Part of the joke on that was just that the complexity would be over the top. This one is a more straight-forward science-fiction story, I would say. Alien invasion and people running in terror, that kind of thing, with a slight twist of there being an inappropriate physical relationship with the big octopus monster. We've got a straight-up science-fiction movie.

We live in a culture that has a real hard time distinguishing fiction from reality. Even when they're told something is fiction.