Best 4069 quotes in «fiction quotes» category

There [in The Kite Runner] certainly are, as is always the case with fiction, autobiographical elements woven through the narrative.

There is a document in every novel in the world. Even in the most fantastic novel, even in science fiction, there is a documentary side. But, this side is not the crux of the matter.

There is a lot of scepticism today as to whether memoir is real. But when fiction is done at a certain level there is scepticism as to whether it is really fiction.

There is a insularity within American fiction even for adults. It's very tough for books in translation in the US.

There is a physics to the world, which non-fiction has a contract to stand in awe of, otherwise it becomes completely self-centered and ego-driven, which is the death of a memoir.

There is a real connection between Philosopy and fiction.

There is, in my mind, no higher compliment to pay a non-fiction book than to say it reads like a novel.

There is more to be pondered in the grain and texture of life than traditional fiction allows. The work of essayists is vital precisely because it permits and encourages self-knowledge in a way that is less indirect than fiction, more open and speculative.

There is no such thing as a normal period of history. Normality is a fiction of economic textbooks.

There is no such thing as science fiction, there is only science eventuality.

There is nothing quite like the controlled burn of Eugene Marten’s prose. Waste is an exhilarating and unnerving piece of fiction.

There is nothing to be learned from history anymore. We're in science fiction now.

There may be certain genres that men dominate, but fiction not so much. The question of prizes is tricky because there are so many prizes.

There's a lot of fiction from that period that we're nostalgic for.

There's a fine line between fiction and non-fiction and I think I snorted it somewhere in 1979

There's a lot of crap out there. Most of the science fiction films alone are abominations, you know. They're mindless. So you can't learn from those kinds of films.

There's an explosion of Indian fiction of all kinds, from military thrillers to chicklit. I think that's exciting.

There's a tradition in American fiction that is deadly serious and earnest - like the Steinbeckian social novel.

There's an overlap between social-realist fiction and crime fiction - a sweet spot there.

There's a perilous word fiction writers need to watch out for. The word is 'had.'

There's a thing with genre movies and science fiction movies that number two is the charmed; two seems to be the best. I loved 'Terminator 2.'

There's no division on my bookshelf between fiction and nonfiction. As far as I'm concerned, fiction is about the truth.

There's so much written about the Titanic, and it's hard to separate what's fact and what's fiction. My understanding is that the way the Titanic was designed, the emphasis was placed on surviving a head-on collision.

There's not a strong autobiographical strain in my fiction. A few bits of fact here and there.

There’s only one subject for fiction or poetry or even a joke: how it is. In all the arts, the payoff is always the same: recognition. If it works, you say that’s real, that’s truth, that’s life, that’s the way things are. ‘There it is.’

There's something very strange about associating me with that prize. I had hoped for it in a more directed way as a journalist. Somehow as a journalist you know there are Pulitzers out there and you can work hard and get one. To win it for Fiction seems unbelievable.

There used to be a category called women's fiction - meaning not too rude, not too much sex, a bit domestic and internal. Women have changed so much. We're so varied. And we've become more interested in the same varied experience in fiction.

There was a gay fiction among us that we were constantly enjoying ourselves, and a skeleton truth that we never did. To the best of my belief, our case was in the last respect a rather common one.

There was a price to be paid for being interested in fiction and in writing, pushing my family away. Books and authors became my family.

The romantic appeal of solar sailing has ensured that its advocates consistently come from the worlds of both science fiction and science fact.

There was no audience for my books. The Indians didn't regard me as an Indian and North Americans couldn't conceive of me of a North American writer, not being white and brought up on wheat germ. My fiction got lost.

The same authorities who insist upon beginnings, middles, and ends, declare that Great Literature (by which they mean the stories they have been taught to admire) is about love and death, while mere popular fiction like this is about sex and violence. One reader's sex, alas, is another's love; and one's violence, another's death.

The secret of successful fiction is a continual slight novelty.

The science fiction world has a lot of people doing seriously imaginative thinking.

The short story feels like the most natural length for prose fiction, or certainly for the kind of ideas and situations I like to encounter.

These novels [Zombie, My Sister, My Love] are so special to me. [I don't expect that they will have nearly the same significance to anyone else.] They represent a kind of fiction I would love to pursue more or less constantly, but dare not.

The shape I'm in, I could donate my body to science fiction.

The story of what has happened to women in Afghanistan, however, is a very important one, and fertile ground for fiction.

The subject of a novel is not the plot. Who remembers what happened to Lucien de Rebempre in the end?

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.

The subject of feminism cannot be purely a fiction, as some postmodern writers suggest, produced by the discourses of power.

The study of law left me unsatisfied, because I did not know the aspects of life which it serves. I perceived only the intricate mental juggling with fictions that did not interest me.

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.

The symmetry of form attainable in pure fiction can not so readily be achieved in a narration essentially having less to do with fable than with fact. Truth uncompromisingly told will always have its ragged edges.

The thing about science fiction is that it's totally wide open. But it's wide open in a conditional way.

The - the sort of thing that I want to do is to strike a resonant chord of universality in other people, which is best done by fiction.

The thing about being a mystery writer, what marks a mystery writer out from a chick lit author or historical fiction writer, is that you always find a mystery in every situation.

The triumph of writing fiction is that by doing so, writers can build a more ideal world in themselves.

The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding, and then letting imagination build the structure that fills in those things we can never find out for sure.

The training of a journalist, of working with words for thousands of hours, is extraordinarily useful for a fiction writer.