Quotes About Fiction

Only small sums were actually paid out, the winners of the big prizes being non-existent persons. In the absence of any real intercommunication between one part of Oceania and another, this was not difficult to arrange.

If you look for the working classes in fiction, and especially English fiction, all you find is a hole.

It was like a single equation with two unknowns. It might very well be that literally every word in the history books, even the things that one accepted without question, was pure fantasy.

beyond that, only his own secret imaginings, founded on a dream. He

El camarada Ogilvy, que nunca había existido en el presente, existía ahora en el pasado

La vie ressemble plus souvent à un roman qu'un roman ne ressemble à la vie. (Life resembles a novel more often than novels resemble life.)

The Russians, when I found them a few years later, worked on me in the same way. They seemed to regard fiction not as something decorative but as a vital moral-ethical tool. They changed you when you read them, made the world seem to be telling a different, more interesting story, a story in which you might play a meaningful part, and in which you had responsibilities.

Fiction is an urgent business. It is the Dying Us telling stories to the Dying Us, trying to crack the nonsense in our heads open with a big hammer pronto, before Death arrives.

I noticed something: if I put a theme park in a story, my prose improved.

I think fiction at its best can serve as a moment of induced bafflement that calls into question our usual relation to things and reminds us that our minds, as nice as they are, aren't necessarily up to the task of living, and shouldn't get cocky.

It means that language can make worlds that don't and could never exist.

A novel is what you dream in your night sleep. A novel is not waking thoughts although it is written and thought with waking thoughts. But really a novel goes as dreams go in sleeping at night and some dreams are like anything and some dreams are like something and some dreams change and some dreams are quiet and some dreams are not. And some dreams are just what any one would do only a little different always just a little different and that is what a novel is.

Short fiction encourages experimentation, and it's fun to play with form and try experiments that may or may not work out.

I get to use fiction as a way to work out my thinking and to delight readers in the process. I can't think of any deal that's better for me, and I'm always so grateful that readers have indulged me as I argue with myself in my stories.

For about 30 years, I stayed in the same department and worked the same job, which was rare among people of my age. I chose this path because it allowed me to work on my fiction.

In 'Cosmicomics,' I came close to science fiction - I was inspired by cosmological subjects and the workings of the universe and invented a character who was a sort of witness to everything that was happening inside the solar system.

I was a teacher most of my life, which I loved. I had a very happy working life, and when I retired, I thought I must do something, and I've always read a lot of fiction - you learn so much from fiction. My sentimental education came mostly from fiction, I should say, so I thought I'd try.

Recreating the experience of, say, bereavement in my own head is pretty rough. I was used to switching off from emotions every day of my working life as a journalist, but in fiction, you have to feel it 100%, or else it's a flat experience for the reader.

If you feel that there's the author and then the character, then the book is not working. People have a habit of identifying the author with the narrator, and you can't, obviously, be all of the narrators in all of your books, or else you'd be a very strange person indeed.

I liked the idea of exposing the beams in collaborative novel. And there are many - especially in the crime world - there are many people working together: James Patterson and his stable of sub authors; and then there are like Ken Bruen and Reed Farrel Coleman and Jason Starr.

With a few notable exceptions, literary fiction in the U.K. is dominated by an upper and upper middle-class clique who usually have a tin ear for the demotic and who portray working-class characters with, at best, a benevolent condescension.

On an average day, we allow ourselves the fiction that we own a piece of our workplace. That's part of what it takes to get the job done. Deeper down, we know it's all on loan.

One of the dangers of science fiction, particularly bad science fiction, is that you have these scenes where the characters turn to a blackboard and start explaining how this faster-than-light drive works, or something like that. We never really have those conversations in real life. That's not part of the way we interact as human beings.

Science fiction, in its purest form, for me, it works the best when it's being used as metaphor to look at something from a one-step-removed process, to give a little objectivity and insight into something that, if you were applying it on the face of it, we'd all be too close to.