A Quote by Darin Strauss

If the memoirist is borrowing narrative techniques from fiction, shouldn't the novelist borrow a few tricks from successful non-fiction? — © Darin Strauss
If the memoirist is borrowing narrative techniques from fiction, shouldn't the novelist borrow a few tricks from successful non-fiction?
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.
Fiction and non-fiction are only different techniques of story telling. For reasons I do not fully understand, fiction dances out of me. Non-fiction is wrenched out by the aching, broken world I wake up to every morning.
Telling ourselves that fiction is in a sense true and at the same time not true is essential to the art of fiction. It's been at the heart of fiction from the start. Fiction offers both truth, and we know it's a flat-out lie. Sometimes it drives a novelist mad. Sometimes it energizes us.
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.
Creative non-fiction is such a liberating genre because it allows the non-fiction writer, whether he or she be journalist or essayist, to use all of the techniques of the fiction writer and all of the ideas, creative approaches, that fiction writers get a chance to use, but they have to use it in a true story.
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.
The tricks of magic follow the archetypes of narrative fiction - there are tales of creation and loss, death and resurrection, and obstacles that must be overcome.
The tricks of magic follow the archetypes of narrative fiction — there are tales of creation and loss, death and resurrection, and obstacles that must be overcome.
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.
Writers imagine that they cull stories from the world. I'm beginning to believe that vanity makes them think so. That it's actually the other way around. Stories cull writers from the world. Stories reveal themselves to us. The public narrative, the private narrative - they colonize us. They commission us. They insist on being told. Fiction and nonfiction are only different techniques of story telling. For reasons that I don't fully understand, fiction dances out of me, and nonfiction is wrenched out by the aching, broken world I wake up to every morning.
I think good radio often uses the techniques of fiction: characters, scenes, a big urgent emotional question. And as in the best fiction, tone counts for a lot.
We've had fiction from the time of cave drawings. I think fiction, storytelling, and narrative in general will always exist in some form.
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.
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.
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?
I'll be writing essays long after I've stopped writing fiction. There is this unusually broad range in the non-fiction, but if you look at what I'm capable of as a novelist, I'm more limited.
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