A writer without interest or sympathy for the foibles of his fellow man is not conceivable as a writer.
Science fiction writers, I am sorry to say, really do not know anything.
The work never matches the dream of perfection the artist has to start with.
Rejection slips, or form letters, however tactfully phrased, are lacerations of the soul, if not quite inventions of the devil-but there is no way around them.
If science fiction is the mythology of modern technology, then its myth is tragic.
Everybody walks past a thousand story ideas every day. The good writers are the ones who see five or six of them. Most people don't see any.
My own experience is that once a story has been written, one has to cross out the beginning and the end. It is there that we authors do most of our lying.
People love gossip because it's slightly removed from actuality. It's a very literary thing... You can hear a great story, and it turns out that it's largely not true. Fiction writing is like gossip. It's not malicious gossip, but it's gossip.
The desire to confess ... lies at the root of most fiction writing.
Once you're imagining being the main character, and you're having the conversations and actually being there, the magic in fiction writing takes over.
From my years of teaching creative writing, I know that new writers take the setting for granted, as simply a place to set the action, but setting is a vital element in fiction writing and deserves serious treatment.
When I was in high school and college, my other real focus was, actually, fiction writing. So in college, I had done all these seminars with these various writers-in-residence.
I am conscious of trying to stretch the boundaries of non-fiction writing. It's always surprised me how little attention many non-fiction writers pay to the formal aspects of their work.
In fiction writing, I would say there are several different strands that have been woven through my own writing, and each influenced by a different group of writers.
Another strand of my writing is the importance of the idea. If you think about fiction writing as a spectrum, where at one end of the spectrum in the infrared, are the story tellers, and the people for whom creation of wonderful characters and telling a good story is the most important thing.
In fiction writing ideas have to be handled extremely carefully. You can't let your characters just be mouthpieces for your ideas. They have to live and breathe on their own.
When you're writing a book that is going to be a narrative with characters and events, you're walking very close to fiction, since you're using some of the methods of fiction writing. You're lying, but some of the details may well come from your general recollection rather than from the particular scene. In the end it comes down to the readers. If they believe you, you're OK. A memoirist is really like any other con man; if he's convincing, he's home. If he isn't, it doesn't really matter whether it happened, he hasn't succeeded in making it feel convincing.
Fiction writing is a strange business when you think about it. You sit down and weave a network of lies to explore deeper truths.
My first and biggest love was always fiction writing. But it is a very lonely pastime.
Never believe that the fiction writing life makes sense.... It's insanity by definition.
The professions of novelist and journalist are very separate. As a novelist, you are ultimately working for yourself. Yes, you need the approval of a publisher and an audience, but what is valued in fiction writing - style, individual voice, insight - is scorned by the editor who is combing through your newspaper article.
Fiction and screenwriting blend for me. I feel like being a TV writer/screenwriter has definitely made my fiction writing better, although I have less time to do it.
What you create when you're teaching fiction writing is a kind of literary salon, not a social club or a mutual admiration society, not a debating society, not a repair shop, not a fight club or a soap box. It's a place to have a conversation about a story.
The first time I took a fiction writing class was sophomore year. And I just found myself taking that extremely seriously, in a way that I didn't take anything else seriously. So I guess that was the start of it.
It's my experience that people don't think of fiction writing as being as intellectually serious as other kinds of writing in academia and so without a career as a critic or essayist you can be treated as something of a spiritual medium - a fraud - for "just" writing fiction.
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