A Quote by Monica Hesse
In fiction, you learn about pacing and how to build tension - which is something you want in a really good nonfiction feature article as well.
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I think, about the distinction between fiction and nonfiction. Fiction is not really about anything: it is what it is. But nonfiction - and you see this particularly with something like the BBC Samuel Johnson Prize for Non-Fiction - nonfiction we define in relation to what it's about. So, Stalingrad by Antony Beevor. It's "about" Stalingrad. Or, here's a book by Claire Tomalin: it's "about" Charles Dickens.
My fiction-writing DNA shows in how I think about prose, how I think about the page, how I think nonfiction stories should work. And every piece of nonfiction I write, I want it to have fictional texture.
When I'm making documentaries, I think a lot about how fiction films play. I want them to have the pacing, the twists and the character development of fiction films.
I was listening to this interview with fiction writer George Saunders the other day, and he said something about how the role of a writer is to build a more detailed world. I think it applies to what Gord Downie is doing with his body of work, which is to build a more detailed world and there's something really political about that.
We want Facebook to be one of the best places people can go to learn how to build stuff. If you want to build a company, nothing better than jumping in and trying to build one. But Facebook is also great for entrepreneurs/hackers. If people want to come for a few years and move on and build something great, that's something we're proud of.
All fiction, if it's successful, is going to appeal to the emotions. Emotion is really what fiction is all about. That's not to say fiction can't be thoughtful, or present some interesting or provocative ideas to make us think. But if you want to present an intellectual argument, nonfiction is a better tool. You can drive a nail with a shoe but a hammer is a better tool for that. But fiction is about emotional resonance, about making us feel things on a primal and visceral level.
Products a start-up builds are really experiments…Learning about how to build a sustainable business is the outcome of those experiments [which follow] a three-step process: Build, measure, learn.” “[A startup is] … an organization dedicated to creating something new under conditions of extreme uncertainty.
Prose gets divided up into fiction and nonfiction and short fiction and long fiction and autobiographical nonfiction and so on. Poetry can do any of those things except with the added definition of intensified formal pressure.
I don't read much nonfiction because the nonfiction I do read always seems to be so badly written. What I enjoy about fiction - the great gift of fiction - is that it gives language an opportunity to happen.
I've gotten to a place where I'm better at curbing your ego, which usually happens when you're feeling super small and scared about whatever you're seeing, and you want to go read, 'Oh, I hear there's a really good article about me.' I've gotten better about knowing that's not going to end well, usually.
With fiction, you can take something that bothers you, or that you don't have in clear focus, and you can put it under as much stress as you want. Really get underneath the skin. With nonfiction, you're restricted to what happened.
The best way to build anything is to build it together and build it with diversity, because then you really get good ideas about how to be strong. And you need a strong foundation, which brings about the notion that all of us in the neighborhoods, I still consider myself to be one of them.
I started writing nonfiction because nonfiction is well-suited to subjects that, if you wrote them as fiction, people would say, "I don't believe this. This is a little outlandish".
I was kind of amazed because I first found out about blue boxes in an article in Esquire magazine labeled fiction. That article was the most truthful article I've ever read in my life... That article was so truthful, and it told about a mistake in the phone company that let you dial phone calls anywhere in the world. What an amazing thing to discover.
My motto is: write about anything you bloody well like; just make sure you do it effectively. We've all had all the emotions, the rest is research and that leap which some can do and others cannot - it's not really something you can learn, otherwise all academics of literature would be wonderful fiction writers.
It's experiences in life that give us something to write about, and since good fiction is applied tension, you'll have an arsenal of good material if life hasn't been peachy (and not a whole lot if it has).
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