Most fiction series are written so that the reader can come in at any point and not feel lost, but if you can start at the beginning, why not?
Science fiction is a kind of archaeology of the future.
I base the roles I choose depending on the characters. That's just how I'm gonna run my career. So if it's a good role I'm gonna take it whether it be fantasy, or whether it be realistic or fiction, anything.
The most popular American fiction seems to be about successful people who win, and good crime fiction typically does not explore that world. But honestly, if all crime fiction was quality fiction, it would be taken more seriously.
I'm a novelist, I'm not an activist. I'm not a non-fiction writer, I'm not a journalist. I'm not a foodie, I'm not even really an animal person, or an environmentalist. I did the best I could with this, but it's not who I am.
As a journalist, I would talk to writers, directors, creative people, and discover that for an awful lot of them, the moment they became successful, that was all they were allowed to do. So you end up talking to the bestselling science-fiction author who wrote a historical-fiction novel that everybody loved, but no one would publish.
I'm not a science-fiction writer. I've only written one book that's science fiction, and that's Fahrenheit 451. All the others are fantasy.
I think you can use fiction to get inside people's minds.
I do 30 to 40 books a year, so it's a fair amount of reading. Back and forth between nonfiction and fiction. I usually have three or four things that are open on my desk, on my bed, on audiobook in the car.
Lizzie Pepper is pure fiction! The character is pulled from tabloids. But I think we all look at celebrity marriages and invest in them.
I was thinking one of the great things about fiction is we, as a race, only get to look out of our own eyes at the world. And fiction is a fantastic way of looking out through somebody else's eyes.
Any woman who wishes to be an intellectual, to write non-fiction, to deal with theory, faces a lot of discrimination coming her way and perhaps even self-doubt because there aren't that many who've gone before you. And I think that the most powerful tool we can have is to be clear about our intent. To know what it is we want to do rather than going into institutions thinking that the institution is going to frame for us.
Most of what I want to try to do is continue to go places with fiction that I've never gone before, and tell stories I've never told before, and one of the problems you rapidly discover about fans is what fans want is the last thing they liked. They want more of that.
In a brilliant fusion of fact and fiction, Jayne Anne Phillips has written the novel of the year. It's the story of a serial killer's crimes and capture, yes, but it's also a compulsively readable story of how one brave woman faces up to acts of terrible violence in order to create something good and strong in the aftermath. Quiet Dell will be compared to In Cold Blood, but Phillips offers something Capote could not: a heroine who lights up the dark places and gives us hope in our humanity.
Braxton Cosby's stories feel personal and well thought-out. I'm happy to welcome this entertaining writer to the YA science fiction field. I look forward to more of his work!
I've always been drawn to historical fiction.
Jax Cassidy is a brilliant new voice in contemporary fiction. Full of heat, seduction, and romance, her winning characters are sure to capture your heart and find a place on your keeper shelf.
The adage that fact is stranger than fiction seems to be especially true for the workings of the brain.
Gaston Milhaud, like many of his contemporaries, sought to overthrow empirical positivism by insisting on the fundamental reality of the mind, but mind conceived in the Kantian sense. The knowledge of nature is symbolic, and there is no necessary connection between the phenomena and our fictions.
Through my fiction, I make mainstream readers see the new Americans as complex human beings, not as just The Other.
I had a ludicrous childhood, but I feel that I was able to profit from a lot of the idiotic and unfortunate things that happened to me by turning them into fiction.
Adolescents are still children in that they can't yet tell the difference between make believe and fiction.
Even a fiction film is hard to end. You can going on shooting and editing a documentary forever.
I've always been a fiction filmmaker and I've been heading in the direction of fiction filmmaking, doing documentaries along the way.
Movies feel like work, and reading fiction feels like work, whereas reading nonfiction feels like pleasure.
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