Quotes of All Topics . Occasions . Authors
There are lots of futurists that spend their whole life trying to figure out who we're going to be in 40, 50, 60, 100 years. That's the great thing about science fiction.
'Pulp Fiction' blew my mind; beforehand, I'd watch films and there was a beginning, middle and an end, and that's it. There is in that film, too, but it's out of sequence.
The subject for a lot of non-fiction is very emotional, but if you read it, it's the most boring, dry stuff. I wanted 'Torn Apart' to be extremely accessible and readable.
If anyone ever said biopic I would say, "It's not a biopic." We're fighting uphill against the weight of history. I was like, why don't we just call it historical fiction?
The United States, democratic and various though it is, is not an easy country for a fiction-writer to enter: the slot between the fantastic and the drab seems too narrow.
As soon as we renounce fiction and illusion, we lose reality itself; the moment we subtract fictions from reality, reality itself loses its discursive-logical consistency.
It's kind of a misnomer about science fiction that science fiction is about anything other than people. It's about people doing stuff, sometimes doing extraordinary stuff.
I have loved works of fiction precisely for their illusions, for the author's sleight-of-hand in showing me the magic, what appeared in the right hand but not in the left.
Fiction and nonfiction are not so easily divided. Fiction may not be real, but it's true; it goes beyond the garland of facts to get to emotional and psychological truths.
No one in my family was a reader of literary fiction. So, I didn't have encouragement, but I didn't have discouragement, because I don't think anybody knew what that meant.
Fiction basically is a form of gossip where you want to enter other people's lives, the lives of people you don't know, and you want to know what's going to happen to them.
Anyone telling about his travels must be a liar, . . . for if a traveler doesn't visit his narrative with the spirit and techniques of fiction, no one will want to hear it.
I make non-fiction partly because I'm not that good of a writer. My talent, if I have any, is in balancing, capturing and directing reality, rather than creating scenarios.
I hesitate to predict whether this theory is true. But if the general opinion of Mankind is optimistic then we're in for a period of extreme popularity for science fiction.
Anyway, several rewrites later, Del Rey Books did publish my first novel, and it did become the first work of fiction on the New York Times trade paperback bestseller list.
It's probably a form of childish curiosity that keeps me going as a fiction writer. I ... want to open everybody's bureau drawers and see what they keep in there. I'm nosy.
Reflecting on these complex relationships between reader and story, fiction and life, can constitute a form of therapy against the sleep of reason, which generates monsters.
The stories in Get In Trouble confirm once again that Kelly Link is a modern virtuoso of the form-playful and subversive required reading for anyone who loves short fiction.
Everyone is isolated from everyone else. The concept of society is like a cushion to protect us from the knowledge of that isolation. A fiction that serves as an anesthetic.
Jerel Law has crafted a fantastic story that will leave every reader wanting more. Stop looking for the next great read in fantasy fiction for young readers-you've found it!
It's like that where these little anecdotes come through, and I guess that's what I like about books like that [He Stopped Loving Her Today]. Fiction now is so experiential.
I had liver disease. I'm completely cured now, but I thought about if I died from liver cancer, what my life would look like. I followed this wish of being a fiction writer.
I love doing fiction. I love doing performance films and I love doing documentaries that don't have music. I love to shoot and I love to shoot things I'm enthusiastic about.
I wanted to be free to write the way I wanted to write, and my impression of Christian publishing, at least in fiction, was that there wasn't room for what I wanted to write.
If character is the foreground of fiction, setting is the background, and as in a painting's composition, the foreground may be in harmony or in conflict with the background.
Braxton Cosby's stories feel personal and well thought-out. I'm happy to welcome this entertaining writer to the YA science fiction field. I look forward to more of his work!
[T]he one indispensable ingredient of science fiction [is] a belief in a world being changed by man's intellect, a conviction that what was being written could really happen.
If the reader prefers, this book may be regarded as fiction. But there is always the chance that such a book of fiction may throw some light on what has been written as fact.
What's needed today, now, more than ever, is 'Star Peace' for there is an ominous, mutual threat to all science fiction. It's called 'Twilight'. And it is really, really bad.
It is almost impossible to write fiction about the Mormons, for the reason that Mormon institutions and Mormon society are so peculiar that they call for constant explanation.
You can't hide behind the guise of fiction. No matter how autobiographical a fictional scene is, you can always tell the reader - in protecting yourself - that you made it up.
When I started writing fiction it always seemed in retrospect (I didn't realise at the time) that it was always caused by environments rather than by incidents and characters.
I do not plan my fiction any more than I normally plan woodland walks; I follow the path that seems most promising at any given point, not some itinerary decided before entry.
I always wanted to be a fiction writer, but I couldn't figure out how you could be a novelist and make any money, which continues to be a problem for novelists the world over.
I really struggle to pinpoint whether I became a scientist because I like science fiction, or did I gravitate to science fiction because I identified strongly with scientists.
I have done a lot of things outside of Science Fiction, but there has been an almost disproportionate amount of that genre in my body of work. I don't know what to make of it.
The scientific facts, which were supposed to contradict the faith in the nineteenth century, are nearly all of them regarded as unscientific fictions in the twentieth century.
I also thought of playing improvisational jazz and I did take lessons for a while. At first I tried to write fiction by making up things that were completely alien to my life.
It's said that if two documentary filmmakers meet they talk about the world, if two fiction filmmakers meet they talk about the million that they don't have to make their film.
One of the paradoxes of writing is that when you write non-fiction everyone tries to prove that it's wrong, and when you publish fiction, everyone tries to see the truth in it.
I actually very rarely see comedy myself, and although I admire the work of some comics, it does come from all over, so I’ll get a charge out of some fiction writers and poets.
On an average day, we allow ourselves the fiction that we own a piece of our workplace. That's part of what it takes to get the job done. Deeper down, we know it's all on loan.
I feel like science fiction can get a bad rap sometimes because people make something just to throw an alien in it or just to make it weird, and it doesn't really have a story.
It's always wrong of course to say that you can't do this or you can't do that in fiction. You can do anything you can get away with, but nobody has ever gotten away with much.
To be perfectly frank: I don't write women's fiction. I write intimate, gritty, realistic, character-driven fiction that happens to be thrown into the women's fiction category.
In economics, unlike fiction and the theater, there is no harm in a premature disclosure of the plot: it is to see the changes just mentioned and others as an interlocked whole.
Of course I didn't pioneer the use of food in fiction: it has been a standard literary device since Chaucer and Rabelais, who used food wonderfully as a metaphor for sensuality.
Corollary 1: The existence of immense quantities of trash in science fiction is admitted and it is regrettable; but it is no more unnatural than the existence of trash anywhere.
I have heard Science Fiction and Fantasy referred to as the fiction of ideas, and I like that definition, but it's the mainstream public that chooses my books for the most part.
The truth is, poverty's the environment for alcoholism, and the reservations aren't rich. Maybe cleaning people up in fiction is just as dangerous as presenting them unfiltered.