Best 4069 quotes in «fiction quotes» category

You said my name and my heart went rogue

You scared the crap out of me,” I shove his bare chest with a growl. “Was that you at the front door?” “Ya think?” He fires back with a raise of his eyebrows, taking hold of my arm again, as he practically drags me back toward the front entry. “Did it occur to you to say something?” I shoot back with a scowl. “I thought you were some kind of psychopath.” My frown deepens, as I consider whether he might in fact be a psychopath.

You shouldn't be in here!

You've got the wrong girl." "On the contrary..." the voice murmured, "I've got exactly the girl I want." Her body turned to ice. Her mind fought for calm. There were people only yards away, yet she was alone... "You're bleeding." Lips closed over hers. A kiss so passionate that time faded and stopped... so passionate, it sucked her breath away... Searing heat swept through her- pain and pleasure throbbing through her veins. With a helpless moan, she leaned into him and realized with a shock the kiss had ended.

You've turned on us, New York. We who see your jagged-tooth skyline rise up and want to weep because we are so full of you. We who know that the tumbledown tenements are beautiful, that the cracked sidewalks are beautiful, that the iron and cobblestones, the soot and the stink are beautiful, that the tired old shoemakers are beautiful. That the bodega cats, the gutter rats, the endless clouds of pigeons are beautiful . . . We mourn for you, New York, because you are forgetting us, your brash and ragged children.

You want this thing, this dragonsoul, for sentimental purposes. Because you can't let go of the glory days, or you long for a memento. Something to stick up on your mantelpiece so you can look at it and remember a time when you were actually of use to the world around you, when you were more than relevant- when you were necessary. But you've got no imagination, no idea of the power contained in something like that. You can only see what it was: a part of an antique, as useless and outdated as the broken statues you passed along your way. But we... we have true vision. We're the ones who will take the potential nearly destroyed by the likes of you, nearly lost to the desert or even shattered by your own hand, and put it to a better use.

You were dancing with Yuki and I looked at you. And you turned away and held her closer. Why did you do that? If you didn't want to hurt me, then why?" He looked away, as though he'd been slapped, but he didn't look guilty. He looked pained. "I closed my eyes," he said, his voice so low and strangled she could hardly hear him. "What?" she asked, not understanding. "Tamani held up a hand and Laurel realized he hadn't finished-he was having trouble speaking at all. "I closed my eyes," he repeated after a few shallow breaths, "and imagined she was you."He looked at her, his face open, his eyes honest, his voice a song of anguish.

You will come across people who always affirm by everything you say, but at the hour of need, they simply disappear! Stay away from such people or simply don't fall for their promises.

A book is a story, even if it's non-fiction, and once I've read it, I have the story with me inside my head always.

Academic writing you have to get right. Fiction you have to get plausible. And there's a world of difference.

Accident is as much a part of fiction as anything else, symbolic of the grace that, along with will, conspires to put words on the page.

According to its doctors, my one intransigent desire is to have been a Confederate general, and because I could not or would not become anything else, I set up for poet and beg an to invent fictions about the personal ambitions that my society has no use for.

A childhood is what anyone wants to remember of it. It leaves behind no fossils, except perhaps in fiction.

Actually, I'm addicted to science fiction. Let me make my diction clear - I love sci-fi.

A cyborg is a cybernetic organism, a hybrid of machine and organism, a creature of social reality as well as a creature of fiction.

A fiction about soft or easy deaths is part of the mythology of most diseases that are not considered shameful or demeaning.

A fiction writer is never entirely alone. Her characters are constantly whispering in her ear.

A fascinating book and a great pleasure to read: Betool Khedairi is a talented new voice in fiction.

A film is - or should be - more like music than like fiction.

A good writer should be able to write comedic work that made you laugh, and scary stuff that made you scared, and fantasy or science fiction that imbued you with a sense of wonder, and mainstream journalism that gave you clear and concise information in a way that you wanted it.

After all, that's why we read historical fiction-to be transported to another time, and to be astonished at ancient people's lives and traditions, just as they would probably be astonished at ours.

A great danger, or at least a great temptation, for many writers is to become too autobiographical in their approach to their fiction. A little autobiography and a lot of imagination are best.

After I'd been a lawyer for about five or six years, I started playing around with fiction.

After having read a lot of fiction, literature, whatever you want to call it, from Wolfe to Houellebecq, I think you have to have an understanding and insight of the human condition that is informed and motivated by a desire to immerse yourself in the human world and bring these stories to bear.

Aging has brought me greater liberty in fiction. When I was young I was harder on myself. I wrote with an idea of absolute seriousness.

A great novel is concerned primarily with the interior lives of its characters, as they respond to the inconvenient narratives that fate imposes on them. Movie adaptations of these monumental fictions often fail because they become mere exercises in interior decoration.

A gritty grain of truth lay at the heart of most legends, she had told me, and the slow accretion of fiction hardened in layers around it.

All good biography, as all good fiction, comes down to the study of original sin, of our inherent disposition to choose death when we ought to choose life.

All fiction is a process of imagining: whatever you write, in whatever genre or medium, your task is to make things up convincingly and interestingly and new.

All fiction comes from a little bit of reality, otherwise it would have no relevance. The fun is in innovation, take something real like this fair, and make it something larger than life.

All my books are made up of other books. They're all deeply structured on other fiction, because I was a student in fiction and I didn't have much actual living to draw on. I suspect a lot of other people's novels are like that, too, though they might be slower to talk about it.

All my novels are very much directly related to my inner life, even though I'm inventing characters, even though it's fiction, even though it's make-believe, it nevertheless is coming out of the deepest recesses of myself.

All writers have roots they draw from - travel, work, family. My roots are in science and it is fertile ground for fiction.

All the great novels, all the great films, all the great dramas are fictions that actually tell us the truth about us or about human nature or about human situations without being tied into the minutia of documentary events. Otherwise we might as well just make documentaries.

All the stories are fictions. What matters is which fiction you believe.

All wars are full of stories that sound like fiction.

Although I do not care for the slogan "art for art's sake", there can be no question that what makes a work of fiction safe from larvae and rust is not its social importance but its art, only its art.

A lot of people mistake the persona that I create in poetry and fiction with me. A lot of people claim to know me who don't really know me. They know the work, or they know the persona in the work, and they confuse that with me, the writer. They don't realize that the persona is also a creation and a fabrication, a composite of my friends and myself all pasted together.

A lot of what the 'Culture' is about is a reaction to all the science fiction I was reading in my very early teens.

A lot of times in my short fiction there isn't much dramatized scene - there are a lot of short, interconnected bits, snippets of conversation, continual action, and so on. I frequently rely pretty heavily on voice.

A masterpiece of fiction is an original world and as such is not likely to fit the world of the reader.

American fiction is good. It would be nice if somebody read it.

A million people can call the mountains a fiction, yet it need not trouble you as you stand atop them.

And I do think that great fiction, even when it's comedic, has an urgency or an inevitability to it, a sense that the writer absolutely had to write this particular story in this way.

Amy Rapp, my producing partner, and I are drawn to character-driven material. We're developing and producing movies and TV, fiction and non-fiction, studio and independent, broadcast and cable, theatre, and web so our slate is really diverse.

And I am pretty sure that's the point of reading fiction -- so someone else can say in a way you never would have something you recognize immediately.

And I grew up on a steady diet of science fiction, especially apocalyptic and postapocalyptic fiction.

Among its many other obligations, fiction always has to be believable. Life does not have to suffer such constraint, and much of what takes place is believable only because it happens.

Anakana Schofield is part of a new wave of wonderful Irish fiction-international in scope and electrically alive.

And by the way, I wanted to point out that Kindred is not science fiction. You'll note there's no science in it. It's a kind of grim fantasy.