Best 4069 quotes in «fiction quotes» category

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

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

The secret of successful fiction is a continual slight novelty.

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

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

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

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

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 trouble with lies was that once started, the fiction had to be continued, and it was hard always to be remembering details that you had made up upon the spur of the moment.

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

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

The truth of history crowds out the truth of fiction - as if one were obliged to choose between them.

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.

The truth is stranger than fiction . . . and often more incriminating.

The unity of effect or impression is a point of the greatest importance. It is clear, moreover, that this unity cannot be thoroughly preserved in productions whose perusal cannot be completed at one sitting.

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.

The wages Haiti requires by law belong in the department of science fiction: actual wages on coffee plantations vary from $.07 to $.15 a day

The vast majority of fiction is written to markets and to this damnable business we have nowadays of categorizing everything.

The variety within Mann's fiction is impressive and fascinating. But Joyce is even more various and many-sided. He begins his career with a wonderful sequence of bleak studies about the ways in which human lives can go awry - in my view, Dubliners is underrated.

'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.

The whole aesthetics of computers very much feeds into my OCD. They fill my head with obsessionalities and my actions become very repetitive. It seems quite inimical to the dreamy state out of which fiction comes which seems so much less causally repetitive than the way one works on computers.

[The Women's Room] is one of those pieces of fiction that reveals itself in a different way every time. It's incredible.

[The Women's Room] is very much a white woman's piece of fiction, for sure. But for me, as a white woman, I related to a lot of it and continue to as I've gotten older, and especially at this moment in time, I want to read it again.

This is a collection of dexterous, loving, beautifully optimistic work that left me breathless and delighted.... Hannu Rajaniemi's magnificent science fiction - as is paradoxically appropriate - is pure magic.

The work reveals the creator - and as our universe in its vastness, its orderliness, its exquisite detail, tells us something of the One who made it, so a work of fiction, for better or worse, will reveal the writer.

The world that is in me is the only world I have by which to grasp the world outside and as I write fiction, it is the chart by which I must steer.

the wrongs of society can be more deeply impressed on a large class of readers in the form of fiction than by essays, sermons, or the facts of science.

They couldn’t have known that even this was a lie—that we never really choose, not entirely. We are always being pushed and squeezed down one road or another. We have no choice but to step forward, and then step forward again, and then step forward again; suddenly we find ourselves on a road we haven’t chosen at all. But maybe happiness isn’t in the choosing. Maybe it’s in the fiction, in the pretending: that wherever we have ended up is where we intended to be all along.

They say that every writer, they write about himself, and I think that to a certain extent that is true. But also we are creators of fiction.

This is one of the ways fiction is more liberating than nonfiction - I don't have to be so concerned with fact. I had the paradigm of certain people in my head who became my characters, but I never considered these people to be from a "certain sector of society," unless we agree that we're all from certain sectors of society.

The world is a very complex and interesting place and that is what I really want my fiction to say: wake up to how amazing the world is.

They have an amazing proliferation of TV channels now: The all-cartoon channel, the 24-hour-science fiction channel. Of course, to make room for these they got rid of the Literacy Channel and the What's Left of Civilization Channel.

This is probably the single great subject of horror fiction: our need to cope with a mystery that can be understood only with the aid of a helpful imagination.

This modernizing experiment seems to have something diabolic about it. Everything that was becomes rejected in the name of a modernity that assumes the nature of a fiction, an illusion, a devilish apparition. To a greater or lesser extent this applies to all the postcommunist countries.

Those are the movies that we [with Evan Goldberg] always wanted to make. Pulp Fiction, Reservoir Dogs, the kind of movies where violence and comedy and characters kind of work together really well.

Though I later found a career as a journalist and an essayist, fiction is my first love and I never left it, even though there was no easy way to make a living from it.

Those who say truth is stranger than fiction have wasted their time on poorly written fiction.

Those who relish the study of character may profit by the reading of good works of fiction, the product of well-established authors.

Through my fiction, I make mainstream readers see the new Americans as complex human beings, not as just The Other.

To me, science fiction is about the sense of mystery, the sense of awe. Not 'shock and awe', just 'awe.'