Quotes About Fiction

Fiction and non-fiction are only different techniques of story telling. For reasons I do not fully understand, fiction dances out of me. Non-fiction is wrenched out by the aching, broken world I wake up to every morning.

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.

Yes - 90% of fantasy is crap. And so is 90% of science fiction and 90% of mystery fiction and 90% of literary fiction.

I spend most of my time reading non-fiction of all sorts. Then poetry. Then fiction to blurb. Then fiction I want to read.

I write some art criticism, and one thing that's clear to me is that politics is fashionable in the American art world in a way it maybe isn't in American fiction. Your work of art becomes fashionable the moment it has some kind of political commentary. I think this has its dangers - the equation between fashion, politics, and art is problematic for obvious reasons. Nonetheless, the notion of politics as being de rigueur in the world of fiction is almost unthinkable. In fiction in America at the moment, the escape into whimsy is far more prevalent than the political.

A non-fiction writer pretty much has the shape of the figure in front of him or her and goes about refining it. A work of non-fiction is not as difficult to write as a work of fiction, but it's not as satisfying in the end.

Science fiction, as I mentioned before, writes about what is neither impossible nor possible; the fact is that, when the question of possibility comes up in science fiction, the author can only reply that nobody knows. We haven't been there yet. We haven't discovered that yet. Science fiction hasn't happened.

I've never written a fiction before about real people. . . . I read everything that I could find by people who met them and tried to get some impression of them, but as always when you write fiction, even if you have completely fictitious characters, you start by thinking of what is plausible, what would they say, what would they be likely to do, what would they be likely to think. At some point, if it is every going to come to life, the characters seem to take over and start speaking themselves, and it happened with [COPENHAGEN].

But Roy Rockwood, it was science fiction for the sake of science fiction.

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

We sometimes drive ourselves crazy with how our books will be "seen," when in fact we already know what they're about, and where our obsessions are. If we can spin those obsessions into fiction, then there's a decent chance they will be "fiction-worthy," as you call it. The idea of the "sweep of ideas" is a complicated one.

What I like about mixing fiction and non-fiction is being able to fully explore an idea without being bound by genre. If you scratch under any surface there are histories for everything, aren't there? And there's unknown women's history in everything, too. It all gets simplified because its complexity is more than you can stand sometimes. So you need full freedom of expression.

I always say that writing non-fiction versus writing fiction is a bit like architecture versus abstract painting.

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.

I meet a number of people as a writer of fiction who say "Oh, I don't read much fiction," as if the history of the United States, just as an example, isn't an exercise in storytelling and myth-making.

I can think of very few science books I've read that I've called useful. What they've been is wonderful. They've actually made me feel that the world around me is a much fuller, much more wonderful, much more awesome place than I ever realized it was. That has been, for me, the wonder of science. That's why science fiction retains its compelling fascination for people. That's why the move of science fiction into biology is so intriguing. I think that science has got a wonderful story to tell.

I don't really see science fiction as fiction. I can imagine colonies on Mars and everything.

Fiction is of the essence of poetry as well as of painting; there is a resemblance in one of human bodies, things, and actions which are not real, and in the other of a true story by fiction.

The first act of insight is throw away the labels. In fiction, while we do not necessarily write about ourselves, we write out of ourselves, using ourselves; what we learn from, what we are sensitive to, what we feel strongly about--these become our characters and go to make our plots. Characters in fiction are conceived from within, and they have, accordingly, their own interior life; they are individuals every time.

It's no wonder that truth is stranger than fiction. Fiction has to make sense.

I love outsider stories. And I also like a lot of genre fiction, too. So I wanted to write a literary book that flirted with thriller and fantasy and even science fiction. I wanted the coming-of-age story and the love story to be about "outsiderdom" - one of the themes I am most interested in.

I think it's true that that's something that poetry can go to school on fiction. I think poetry can go to fiction to learn.

Writing fiction, like reading fiction, is a practice in empathy.

I guess it was easier for me to find my voice in poetry than it was in fiction. I'm working on fiction again, and I find it a lot more difficult. It's a struggle. At a certain point, you have your voice and you go to it every time, so it's not like reinventing the wheel. That's the way I see it at least.

I tend to wait for true stories to mature into fiction. Most of my fiction grew out of a long-germinating real-life situation.

I like to read fiction best and I like to write fiction, too.

I'm fond of science fiction. But not all science fiction.

Being serious is serious business in fiction. It's commercial or hoi polloi in fiction to be funny. It's too accessible to the great unwashed.

It is true that some of my fiction was based on actual events. But the events took place after the fiction was written.

The only science fiction I have written is Fahrenheit 451. It's the art of the possible. Science fiction is the art of the possible. It could happen. It has happened.

Science fiction is any idea that occurs in the head and doesn't exist yet, but soon will, and will change everything for everybody, and nothing will ever be the same again. As soon as you have an idea that changes some small part of the world you are writing science fiction. It is always the art of the possible, never the impossible.

There is really no fiction or non-fiction; there is only narrative. One mode of perception has no greater claim on the truth than the other; that the distance has perhaps to do with distance - narrative distance - from the characters; it has to do with the kind of voice that is talking, but it certainly hasn't to do with the common distribution between fact and imagination.

Time passes, as the novelist says. The single most useful trick of fiction for our repair and refreshment: the defeat of time. A century of family saga and a ride up an escalator can take the same number of pages. Fiction sets any conversion rate, then changes it in a syllable. The narrator’s mother carries her child up the stairs and the reader follows, for days. But World War I passes in a paragraph. I needed 125 pages to get from Labor Day to Christmas vacation. In six more words, here’s spring.

If contemporary literary fiction doesn't read a bit like science fiction then it's probably not all that contemporary, is it

The novels are always morphing into something else now, some kind of hybrid, more of a ground that isn't so easily specified. I suppose you could call it creative non-fiction, and rather focused on the natural world, which is what I'm most interested in reading these days. At least that would be the closest thing, but my books also include some fiction, so they're difficult to pinpoint.

When I was a child, science fiction was the first source I've found for information. Science fiction was a very very low cultural stream in those days. It was completly below the radar and no one bothered to censurate it.

I did go through graduate school and I like to do research, to create something that has a certain objective solidity. The same thing influences my fiction to some degree, because, you know, my fiction is often based on history that I've read.

Fiction is my home, I came from fiction, I like to tell stories.

God, or rather the fiction of God, is thus the sanction and the intellectual and moral cause of all the slavery on earth, and the liberty of men will not be complete, unless it will have completely annihilated the inauspicious fiction of a heavenly master.

I do, however, feel reasonably strongly the sense that the job of a piece of argumentative scholarly non-fiction is not the same as the job of a piece of fiction.

I certainly don't believe you documentary filmmakers. Like me, you are involved in making fiction, and your fiction is just as well organized and just as well predicated, but the big difference between me and you is that I'm honest and you're dishonest. I know I'm telling you lies.

I think every fiction writer, to a certain extent, is a schizophrenic and able to have two or three or five voices in his or her body. We seek, through our profession, to get those voices onto paper.

Being able to create your own work, being able to indulge your own fantasies is so much better than journalism, so much more fulfilling than journalism, to me, that as long as I can continue to write fiction, I shall.

It is only through fiction and the dimension of the imaginary that we can learn something real about individual experience. Any other approach is bound to be general and abstract.

I grew up watching science fiction with my dad. It was kind of our little secret. It was our bonding time as father and daughter.

Number one rule for fiction: Coincidence can be used to worsen a characters predicament, but never to solve his problems.

What we search for in fiction is not so much reality, but the epiphany of truth.

Blindsight is excellent. It's state-of-the-art science fiction: smart, dark and it grabs you by the throat from page one. Like a C J Cherryh book it makes you feel the danger of the hostile environment (or lack of one) out there. And it plays with some fascinating possibilities in human development, and some disconcerting ideas about human consciousness. What else can I say? Thanks for giving me the privilege of reading this.