A Quote by Ann Leckie

Or is anyone's identity a matter of fragments held together by convenient or useful narrative, that in ordinary circumstances never reveals itself as a fiction? Or is it really a fiction?
There is really no fiction or non-fiction; there is only narrative. One mode of perception has no greater claim on the truth than the other; that the distance has perhaps to do with distance - narrative distance - from the characters; it has to do with the kind of voice that is talking, but it certainly hasn't to do with the common distribution between fact and imagination.
In the form of the oeuvre, the actual circumstances are placed in another dimension where the given reality shows itself as that which it is. Thus it tells the truth about itself; its language ceases to be that of deception, ignorance, and submission. Fiction calls the facts by their name and their reign collapses; fiction subverts everyday experience and shows it to be mutilated and false.
I obviously read and adore traditional fiction. I teach traditional fiction, I also teach all kind of not-so-traditional fiction. And since I'm such a plot buff, and I'm really such a narrative buff, I can't seem to relinquish my - not just reliance - but excitement about those traditional techniques.
If the memoirist is borrowing narrative techniques from fiction, shouldn't the novelist borrow a few tricks from successful non-fiction?
I don't like docudramas. Documentaries should not go together with fiction, or half-fiction or quarter-fiction. The two should not go together. They cannot mix.
I'd rather let the fiction speak for itself and I don't want to write fiction that tells people how to feel, and I don't want to be judgmental in the fiction.
Memory is like fiction; or else it's fiction that's like memory. This really came home to me once I started writing fiction, that memory seemd a kind of fiction, or vice versa. Either way, no matter how hard you try to put everything neatly into shape, the context wanders this way and that, until finally the context isn't even there anymore... Warm with life, hopeless unstable.
I never think about genre when I work. I've written fantasy, science fiction, supernatural fiction, and am now working on a suspense novel. Genres are mostly useful as a marketing tool, and to help booksellers known where to shelve a book.
We've had fiction from the time of cave drawings. I think fiction, storytelling, and narrative in general will always exist in some form.
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.
I used to write fiction, non-fiction, fiction, non-fiction and have a clear pattern because I'd need a break from one style when going into the next book.
I just really like the verve and muscle of good crime fiction, the narrative punch of it. The underlying principle of good crime fiction is an insistence on a kind of root democracy. I've always responded to that notion.
There is no excuse for anyone to write fiction for public consumption unless he has been called to do so by the presence of a gift. It is the nature of fiction not to be good for much unless it is good in itself.
Identity politics divides us. Fiction connects. One is interested in sweeping generalizations. The other, in nuances. One draws boundaries. The other recognizes no frontiers. Identity politics is made of solid bricks. Fiction is flowing water.
Comedy is like fictional charm. It's the charm of fiction. Or the charisma of fiction. When you meet somebody who's immediately charismatic, you're attracted to that person. And in fiction it's got to come out in either one of two ways: in the prose itself, and you're hooked immediately because you never want to leave such a colorful and penetrating world. Or, it's simply being a funny writer.
Truth may be stranger than fiction on a plot and narrative basis, but fiction can investigate tone in a way that things based on a true story can't.
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