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Fiction Quotes

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Fiction Quotes

“If you're writing fiction, you're dealing with characters who, themselves, will have heartfelt sentiments but who, themselves, live in this culture right now and thus face all the impediments to sort of dealing with those parts of their lives that, you know, that we did. So it would be not only silly but unrealistic to have a character saying that kind of stuff.”

“There's two kinds of evil that horror fiction always deals with. One kind is the sort of evil that comes from inside people, like in Dr. Jekyll and Mr. Hyde. The other kind of evil is predestined evil. It falls on you like a stroke of lightning. That's the scary stuff, but, in a way, it's the stuff you don't have to worry about. I gotta worry whether or not I'm getting cavities. I gotta worry about whether cigarettes are giving me cancer. Those are things I can change. Don't give me lightning out of a clear sky. If that hits me I just say, "That's probably the way God meant it to be."”

“Directing is a big responsibility to take on. I think I'm only good at doing things I know very well. I don't direct movies because I get offered the new vampire movie or science fiction movie. I don't get offered those, anyway, but if I did, I would just tell 'em, "Look, I'm the wrong guy." I only do things about people and situations, and I do the ones that I think I'm the best guy for the job on, which is usually something I generate myself.”

“The literature now is so opaque to the average person that you couldn't take a science-fiction short story that's published now and turn it into a movie. There'd be way too much ground work you'd have to lay. It's OK to have detail and density, but if you rely on being a lifelong science-fiction fan to understand what the story is about, then it's not going to translate to a broader audience.”

“You can lose a reader in a blink of an eye. If a person is an engineer or chemist or an anthropologist or whatever, you spoil the whole book for that person if there's obviously ignorance here. What's wrong with so much science fiction is that the science is so lousy that it isn't worth paying attention to.”

“If my setting is new to a reader, or the concerns of the novel are new, I hope they will learn something about the world. I would like to say that they can trust that what they do learn in the novel will be accurate, because I pay a lot of attention to facts. I do a lot of research to make sure that I'm not giving them, you know, blue moons of Jupiter. It's not science fiction.”

“Many years ago I had two small children, and I wanted to be able to be home when they got home from school. And I didn't like the direction journalism was taking. I thought if I could write books, I could work at home and have the best of both worlds. I wrote my first mystery while still working full time, and it didn't sell, but the next one did sell, so I quit my job for the world of fiction. Scary, but I've never regretted it for a single day.”

“I love science fiction but I don't like fantastic [cinema]. For example, if you have a magical ring and you can explode the world with it. What are we talking about? You know, it's not interesting. I don't like Lord of the Rings. Even Star Wars, for me, I don't understand this kind of story. But Alien, because the rules of the game are very precise, it could happen. I love science fiction. I have an idea about robots in the future.”

“Being a fan of science fiction, I collect a lot of science fiction art work and so if you go to my house there's like a library and you just geek out on science fiction material. A lot of the colony worlds specifically are built as a melting pot of different societies, because the world is at a point where there are only two zones that are left inhabitable.”

“If you want to be a fiction writer, you need to start reading like a fiction writer. To do so, you need to learn about craft so that the next time you pick up a contemporary short story, you're reading it not as an abstraction floating in formaldehyde, existing simply for the theorist's dull scalpel to saw on, but as a concrete thing constructed out of words and shaped by syntax, brought to life by a writer who made several thousand choices, some large, some small, before letting that imperfect beauty, the story, walk on its own two feet.”

“We see films all the time, whether they have access to all kinds of intellectual property or artifacts, and the one thing that they don't get is story. So I think whether you're talking about a biopic or an action film or a science-fiction film that has all the CGI in the world, if you're not trying to connect with an audience, it doesn't really matter.”

“Another strand of my writing is the importance of the idea. If you think about fiction writing as a spectrum, where at one end of the spectrum in the infrared, are the story tellers, and the people for whom creation of wonderful characters and telling a good story is the most important thing.”

“We don't really know how technology will affect narrative. That's the question. See, people used to say that the novel is going to die, but they would never say that movies will die with it, when in fact all forms depend on the narrative. I think if one of them fails, the others are going to fail as well. Maybe this will happen to both forms, and maybe movies will take a totally different direction with fiction.”

“When writers are self-conscious about themselves as writers they often keep a great distance from their characters, sounding as if they were writing encyclopedia entries instead of stories. Their hesitancy about physical and psychological intimacy can be a barrier to vital fiction. Conversely, a narration that makes readers hear the characters' heavy breathing and smell their emotional anguish diminishes distance. Readers feel so close to the characters that, for those magical moments, they become those characters.”

“Read non-fiction. History, biology, entomology, mineralogy, paleontology. Get a bodyguard and do fieldwork. Find your inner fish. Don't publish too soon. Not before you have read Thomas Mann in any case. Learn by copying, sentence by sentence some of the masters. Copy Coetzee's or Sebald's sentences and see what happens to your story. Consider creative non-fiction if you want to stay in South Africa. It might be the way to go. Never neglect back and hamstring exercises, otherwise you won't be able to write your novel. One needs one's buttocks to think.”

“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.”