Fiction Quotes
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As a teenager, I read a lot of science-fiction, but then I read 'Catch-22' and 'The Catcher in the Rye' and started reading more literary fiction.
I wrote a novel. It's called 'The Middlesteins.' It's fiction. It's not a memoir. I'm not a spokesperson.
Right from the very beginning, I knew I wanted to write palpably Scottish fiction.
I wrote 'Knots and Crosses,' the first of the Rebus books, not even realising that I was writing crime fiction.
Fiction came quite a while later. I began with short stories and fiction for children.
I obviously read and adore traditional fiction. I teach traditional fiction; I also teach all kinds of not-so-traditional fiction.
There's an explosion of Indian fiction of all kinds, from military thrillers to chicklit. I think that's exciting.
It's funny with fiction - once you cut something, it hasn't happened anymore.
I have this long-running idea that the distinction between fiction and nonfiction is not just, 'Did it happen or didn't it happen?' It's one of form.
Delaying and withholding tactics, red herrings, partial and doubtful outcomes are stock in trade for fiction writers, especially crime writers.
Sometimes I'll write something that's purely autobiographical, and sometimes pure fiction, and sometimes a mix.
I was first introduced to Kafka's writing during my compulsory army-service basic training. During that period, Kafka's fiction felt hyperrealistic.
Mike Mignola's 'Hellboy' comics have a drizzly, musty gothic ambience - the same fetid air that H. P. Lovecraft circulated in his fiction.
There is no longer any such thing as fiction or nonfiction; there's only narrative.
Books are acts of composition: you compose them. You make music: the music is called fiction.
There's not a strong autobiographical strain in my fiction. A few bits of fact here and there.
When I was younger, I was drawn to Ayn Rand books and other works of fiction celebrating individualism.
If the memoirist is borrowing narrative techniques from fiction, shouldn't the novelist borrow a few tricks from successful non-fiction?
I'm very strict in my belief that non-fiction should be truthful, and fiction is for invented narratives.
There's an overlap between social-realist fiction and crime fiction - a sweet spot there.
It took me a lot of times watching it that I started to appreciate 'Pulp Fiction.'
'The Expats' is a thriller, but one that tends more toward general fiction than toward breathless pulp.
I like fiction. I love all sorts of love stories, I think. I even watched '17 Again.'
To be honest, I'm not that much of a reader of Korean fiction, since so little is translated.
When reading fiction, we cannot automatically assume that what we read is fact.
It's not highly intellectual material. I'm dedicating it to the pulp fiction of the past.
With literary biographies, you're either shelved with other biographies or next to your subject's fiction.
I hardly read fiction; I mostly read nonfiction. I like to examine material things.
We have fallen into this very mean description of humanity. Naturalism in fiction is too reductive in its definition of human beings.
I read pretty eclectically - fiction, non-fiction, and poetry - and I've been inspired and influenced by a number of writers.
I love fiction that sounds like fact. As a matter of fact, I also like fact that sounds like fiction.
As with all types of writing, fantastical fiction depends on the same basic rules.
A blend of fact and fiction has been used in various forms since the dawn of creative writing, starting with sagas and epic poems.
A postcolonial writer who has often been credited with mixing the mundane with the magical, and history with fiction, is Salman Rushdie.
I did try to write fiction. I wrote 10 novels. And they were all just awful.
In Bosnian, there's no distinction in literature between fiction and nonfiction; there's no word describing that.
I haven't written adult fiction, but I do not sugarcoat grief - or what I expect grief to be.
The literary trappings and moralizing of science fiction I find insufficiently compelling.
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