Fiction Writers Quotes
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However far fiction writers stray from their own lives and experiences - and I stray pretty far from mine - I think, ultimately, that we may be writing what we need to write in some way, albeit unconsciously.
The dilemma felt by science fiction writers will be perceived in other creative endeavors.
New fiction writers are a special breed in my estimation, and I never dreamed that so many people would be interested, but I remember being led by God.
I can't recommend technical writing as a day job for fiction writers because it's going to be hard to write all day and then come home and write fiction.
I think that there are fiction writers for whom that works well. I could never do it. I feel as if, by the time I see that it's a poem, it's almost written in my head somewhere.
Many fiction writers eventually want to feel that their work forms a single, unified entity.
Technically and logically speaking, actual Victorian science fiction writers cannot be dubbed 'steampunks.' Although they utilized many of the same tropes and touchstones employed later by twenty-first-century writers of steampunk, in their contemporary hands these devices represented state-of-the-art speculation.
Maybe the search for life shouldn't restrict attention to planets like Earth. Science fiction writers have other ideas: balloon-like creatures floating in the dense atmospheres of planets such as Jupiter, swarms of intelligent insects, nano-scale robots and more.
I can't be alone among fiction writers in regarding the world, so much weirder than anything we could make up, as beating us at our own game or in racking my brains over what could possibly constitute a contribution when novels pale before the newspaper.
Creative non-fiction is such a liberating genre because it allows the non-fiction writer, whether he or she be journalist or essayist, to use all of the techniques of the fiction writer and all of the ideas, creative approaches, that fiction writers get a chance to use, but they have to use it in a true story.
Science fiction writers have usually been very poor prognosticators of the future, either in literary or technological terms, and that's because we're all too human and, I think, have the tendency to see what we want to or, in the case of those more paranoid, what we fear.
We sat around on a hotel balcony with a bottle of wine and tried to figure out how you would go about blowing up a planet. That's the kind of conversations science fiction writers have when they get together. We don't talk about football or anything like that.
Science fiction writers create all sorts of futures - that comes with the job. But it's not the type that matters - hopeful or dark - it's the variety we see as readers. It's nurturing the imaginations of those who will go on to create the world around us.
I started in this racket in the early '70s, and when I was president of the Science Fiction Writers of America, of which I was like the sixth president, I was the first one nobody ever heard of.
Science fiction writers aren't in the prediction business; they're in the speculation business, using 'hasn't happened' or 'hasn't happened yet' to create entertaining scenarios that may or may not anticipate future realities.
Science fiction writers missed the most salient feature of our modern era: the Internet.
Science fiction writers foresee the inevitable, and although problems and catastrophes may be inevitable, solutions are not.
I think fiction writers should work. If you have a job and are not living off advances or grants, you never have to make concessions in your writing, ever.
I think that fiction writers can write about anyone. If you are writing a character, and the only thing they are to you is their otherness, then you haven't written a character.
Science fiction writers didn't predict the fade-out of NASA's manned space operations, and they weren't prepared with alternative routes to space when that decline became undeniable.
That's what fiction writers do: create characters and do terrible things to them for the entertainment of others. If they feel guilty enough, they write happy endings.
I was standing on the shoulders of other science fiction writers like William Gibson, who had written 'Neuromancer' on a typewriter before home computers even really existed, and Neal Stephenson who wrote 'Snow Crash' in the early '90s and imagined an online virtual world before the birth of the modern Internet.
When I taught at the University of Houston in the Creative Writing program, we required the poets to take workshops in fiction writing, and we required the fiction writers to take workshops in poetry.
I go to readings by fiction writers like Alice Walker, and I'm envious of the level of attention they generate.
Many science fiction writers are literary autodidacts who focus on the genre primarily as a literature of ideas rather than as a pure art form or a tool for the introspective examination of the human condition. I'm not entirely at ease with that self-description.
It seems like every few years a big name author will holler something about how evil, heinous, and morally wrong fan fiction and fan fiction writers are, and then the Internet gets all upset and shocked, and then the author is shocked that people could get so upset.
I did go to an MFA program, at Bowling Green State University in Ohio. For me, it worked perfectly. It was a small program. They only take five fiction writers a year, and they fund all of us - you don't go into debt to get an MFA. It's not like getting an MBA - you're not going to buy yourself out.
I think most fiction writers naturally start by writing short stories, but some of us don't. When I first started writing, I just started writing a novel. It's a hard way to learn to write. I don't recommend it to my students, but it just happens that way for some of us.
Our task as fiction writers isn't just to report something that didn't really happen. We have to give what we write a sense of reality. The tool of our tradition is language.
Science fiction writers aren't short of ideas. You can read a book, and it sets off a chain of thought processes, so it becomes a response to other people's books.
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