A Quote by Anthony Horowitz

My writing has always been what you call 'narrative fiction' in the sense that it's got very strong plots and twists at the end. — © Anthony Horowitz
My writing has always been what you call 'narrative fiction' in the sense that it's got very strong plots and twists at the end.
Writing children's books gives a writer a very strong sense of narrative drive.
I guess the wildcard here is Terrence Malick. He supervised me while I was writing the script for Beautiful Country, and he is a genius, although not always easy to follow. What I learned from him is that the narrative can be tracked through all kinds of scenes, that the strong narrative thread is not always the one that is most obvious. Creating narrative with Malick was a bit like chasing a butterfly through a jungle. This approach to narrative is fun and complicated, something that makes the process of writing constantly interesting to this writer.
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.
In my mind, there's not a great difference between what people call fiction and non-fiction. So in that sense, I'm like an early-18th-century person. I actually believe there's one way of writing.
My documentaries have always been very much constructed in the spirit of dominant cinema. From the time I started making non-fiction, I was mainly interested in designing and creating documentaries like fiction, so it was a natural evolution to try and embark on doing a dramatic narrative.
And I sense it was a rather constructed, almost half narrative fiction film in some ways. A lot of it was staged and manipulated to get those things in there that I knew to be strong.
My work is very eclectic. I write books that range from writing fiction, writing fable where I am very directly trying to imagine alternate worlds, to writing about [Buckminster] Fuller who was the ultimate world man creating all sorts of alternate worlds and believing that they were imminent to my own work of - for instance, a project that I've been working on for some year and a half, two years now that continues to evolve has been what I call Deep Time Photography.
Burroughs called his greatest novel 'Naked Lunch,' by which he meant it's what you see on the end of a fork. Telling the truth. It's very difficult to do that in fiction because the whole process of writing fiction is a process of sidestepping the truth. I think he got very close to it, in his way, and I hope I've done the same in mine.
I never outline my novels before I write. I do have a vague sense of beginning, middle, and end at the outset of each book, but for me, writing has always been a very character-driven process.
I like to believe my suspense novels marry the strong characters from my romance writing past, with the twisty, clever plots of my mystery writing present.
I think all writing is an attempt to complicate and subvert the dominant narrative. Writing personalizes statistics. It puts a face and a name on a number. I suppose in that sense it's always political.
I find it's bizarre that science fiction is the one branch of television to push the idea of strong female characters. And I only call it bizarre because strong women aren't fiction.
I've been writing long enough to know that fiction, as a rhetorical mode, works very differently from expository writing. If an author has a specific critique about contemporary society in mind, fiction tends not to be the best means to deliver that critique.
Once a poet always a poet, and even though I haven't written poems for a long time, I can nonetheless say that everything I've ever learned about writing lyrical fiction has been informed by three decades of writing in lines and stanzas. For me the real drama of fiction is almost always the drama of the language.
The resulting texts always took a narrative term, enigmatic at first but ultimately explicit and often premonitory. The semantic distribution of these basic elements diverted them from their original meaning, thus revealing their real significance. Henceforth, every form of writing will consist of an operation of decoding, of contamination, and of sense perversion. All this because all language is essentially mystification, and everything is fiction.
I can't imagine writing a book without some strong female characters, unless that was a demand of the setting. I actually tend to suspect that in real life, there have always been very strong female characters, but at certain stages of society, they've been asked to cool it.
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