A Quote by Franklin P. Adams

The best part of the fiction in many novels is the notice that the characters are purely imaginary. — © Franklin P. Adams
The best part of the fiction in many novels is the notice that the characters are purely imaginary.
I have a lot of blurring between fiction and non-fiction in so many of my works. For example, my first novel, 'When Nietzsche Wept,' has a great deal of non-fiction in it. I didn't create many characters at all. Almost all of them are historical characters that actually existed.
In Pakistan, many of the young people read novels because in the novels, not just my novels but the novels of many other Pakistani writers, they encounter ideas, notions, ways of thinking about the world, thinking about their society that are different. And fiction functions in a countercultural way as it does in America and certainly as it did in the, you know, '60s.
For any artistic person who creates imaginary people, the art is like inhabiting the life and mind of a seven-year-old child with imaginary friends and imaginary events and imaginary grace and imaginary tragedy. Within that alternate universe, the characters do have quite a bit of free will. I know it's happening in my mind and my mind alone, but they seem to have their own ability to shape their destinies. So I'm not shooting for anything. If the characters are vulnerable it's simply because they're very human.
With fiction, you are creating an imaginary world. And it can be a very mechanical process. In a fictional film, you create the characters who become "real people" when facing the camera. When you stop shooting, they change their costumes and become someone else. And people tend to believe in documentary more than fiction. Even if the fiction is based on a true story, everybody will say, "Oh, they're only actors."
The only form of fiction in which real characters do not seem out of place is history. In novels they are detestable.
By serializing two novels in 'Analog,' the world's No. 1, best-selling science fiction magazine, I've had 200,000 words of fiction and three cover stories in that magazine. Quite an enviable record.
This is a work of fiction. All the characters in it, human and otherwise, are imaginary, excepting only certain of the fairy folk, whom it might be unwise to offend by casting doubts on their existence. Or lack thereof.
The novels that get praised in the NY Review of Books aren't worth reading. Ninety-seven percent of science fiction is adolescent rubbish, but good science fiction is the best and only literature of our times.
The reason we write fiction is because it's so much easier to exist spending part of each day in an imaginary world.
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.
From the viewpoint of the writer, the most significant aspect of fantasy and science fiction is that stories of these kinds are either set in imaginary worlds or feature the appearance in the familiar world of some imaginary entity.
I deeply respect literature and expect to gain insight from a book and to identify emotionally with its characters. I therefore avoid reading suspense novels or science fiction.
Sometimes I - I try not to read too many fiction or novels.
I have a funny mental framework when I do physics. I create an imaginary audience in my head to explain things to - it is part of the way I think. For me, teaching and explaining, even to my imaginary audience, is part of the process.
'Game of Thrones' is taking dense novels and trying to shrink it all down to a slightly manageable series in the sense that there are so many characters and so many locations.
Overpopulated fiction can be so confusing that readers put the story down. Under-populated novels can seem claustrophobic or boring. You want the right number of characters for your particular work.
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