The most sustained feat of imagination in mystery fiction today.
Better to have a small role in God's story than to cast yourself as the lead in your own fiction.
I see myself as a storyteller, I don't mind if the story is fact or fiction, if it's a good story I'd like to tell it.
Science fiction invites the writer to grandly explore alternative worlds and pose questions about meaning and destiny.
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.
'We live' writes Pursewarden somewhere 'lives based upon selected fictions. Our view of reality is conditioned by our position in space and time - not by our personalities as we like to think. Thus every interpretation oÐ° reality is based upon a unique position. Two paces east or west and the whole picture is changed.
Perhaps our only sickness is to desire a truth which we cannot bear rather than to rest content with the fictions we manufacture out of each other.
If you want to write fiction, the best thing you can do is take two aspirins, lie down in a dark room, and wait for the feeling to pass.
I don't plan an awful lot in life just as I don't plan an awful lot in my fiction.
Usually at the core of fiction that has some element of the absurd there tends to be an examination of some societal ills that we should talk about more than we do. And it's funny, of course, so we have that release valve with absurdism. It offers us a safe way to explore difficult subject matter.
What I find interesting and heartening, though, is that there does seem to be a shift in the subject matter being written about by women that is doing well in the culture. We're seeing more women writing dystopian fiction, more women writing novels set post-apocalyptic settings, subjects and themes that used to be dominated by men.
Inexperienced fiction and creative nonfiction writers are often told to show, not tell - to write scenes, dramatize, cut exposition, cut summary - but it can be misguided advice. Good prose almost always requires both showing and telling, scenes and summary, the two basic components of creative prose
Everyone knows that a lot of memoirs have made-up scenes; it's obvious. And everyone knows that half the time at least fictions contain literal autobiographical truths. So how do we decide what's what, and does it even matter?
In the end, fiction is the craft of telling truth through lies.
The idea of legitimacy is something I suppose I deal with in my fiction, and in part it's probably a response to my upbringing. When I was growing up I was the middle child, pathologically shy, in a family with a very loud and opinionated older brother, and I felt as if I never had the right to speak. As a result, I simply didn't speak very much.
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.
Our human impulse is to control everything, but fiction seems to me to be about allowing an element of mystery into the text.
I feel like in American fiction we're moving out of a period of intense irony, and I'm very glad about that. I feel like irony is fine for its own sake but shouldn't be the sole reason to write a book. It has been an ironic world view: that's the best way I can describe it. I'm a fan of earnestness. I feel like there's a new wave of earnestness and I'd be happy if I'm some small part of that.
In terms of writing, I think what most fiction writers treasure more than anything is the feeling that they're living for the length of a book inside another person.
Fiction is always a utopian task, in that there's an ideal you hold in your head as you write which inevitably fails in the moment of creation, in the insufficiency of words to convey meaning, or in the way the work is completed in the reader's head.
The triumph of writing fiction is that by doing so, writers can build a more ideal world in themselves.
I feel annoyed that in His wisdom, [God] chose to reel me in with middle-brow Christian fiction. It could be worse, I suppose. I could have come to faith while reading Left Behind.
Real life is crazier than fiction.
It's hard to get justice in the real world. It's possible in fiction.
People want movies to be one thing or another; they want it be fact or fiction.
I love fiction. I like reading short stories. Cupcakes, pop songs, Polaroids, and short stories. They all raise and answer questions in a short space. I like Lorrie Moore. Amy Hempel. Tim O'Brien. Raymond Carver. All the heartbreakers.
I believe that I am some sort of fiction writer and I'm using myself in my work because I'm the person I'm most convenient to use!
A great novelist excels on the small scale and the large, the individual leaf and root as well as the forest; good fiction convinces us that the imaginary is real by selecting exactly the right detail and rendering it perfectly.
Would-be novelists need to bring equal parts arrogance and ignorance to the task before them. The arrogance is almost self-explanatory. Walk into any bookstore or library, calculate how many lifetimes the average person would need to read all the fiction contained therein. To think that one has anything to contribute, to any genre or tradition, takes genuine hubris.
The competition for the future of crime fiction is fierce, as it should be, but don't take your eyes off Craig McDonald. He's wily, talented and-rarest of the rare-a true original. He writes melancholy poetry that actually has melancholy poets wandering around, but don't turn your backs on them, either. I am always eager to see what he's going to do next.
I think if I had been writing fiction, where the work is entirely dependent on the writer's creativity and the potential directions the narrative might take are infinite, I might have frozen
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.
Science fiction also provides a sense of nostalgia that is always present when it comes to Palestine, in that whenever we talk about Palestine, it is never in the present, but either remembering a past or imagining a better future. Submitting gritty Middle Eastern politics to high production sci-fi in this manner not only underlines the absurdity of the situation, but brings about a dystopian future scenario.
What's great about science fiction is that it allows for surreal scenarios even if they pertain to the real world.
If you take the shackles off your imagination, you can go anywhere with science fiction.
'The Wire' really drew on a lot of real-life situations and real-life organizations - it created fiction to make a social statement about reality.
If I would had been born years earlier, I would have been in all the Westerns. It's just the way that the industry goes. But now, we are in an age of a lot of different kinds of fears, and you have the science fiction and horror genres doing our morality plays the same way that they would have done in Westerns. I absolutely accept it. In every respect, fantasy is like doing abstract paintings.
There is a insularity within American fiction even for adults. It's very tough for books in translation in the US.
In some ways, I think it's the closest that we come to the truth - is in the form of fiction.
I often imagine that the longer he studies English literature the more the Japanese student must be astonished at the extraordinary predominance given to the passion of love both in fiction and in poetry.