A Quote by Isabel Allende
There's basically an element of fiction in everything you remember. Imagination and memory are almost the same brain processes. When I write fiction, I know that I'm using a bunch of lies that I've made up to create some form of truth. When I write a memoir, I'm using true elements to create something that will always be somehow fictionalized.
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I have always distrusted memoir. I tend to write my memoirs through my fiction. It's easier to get to the truth by not claiming that you are speaking it. Some things can be said in fiction that can never be said in memoir.
This fact was something I also learned from this first novel that I needed personal experience to invent, to fantasize, to create fiction, but at the same time I needed some distance, some perspective on this experience in order to feel free enough to manipulate it and to transform it into fiction. If the experience is very close, I feel inhibited. I have never been able to write fiction about something that has happened to me recently. If the closeness of the real reality, of living reality, is to have a persuasive effect on my imagination, I need a distance, a distance in time and in space.
I don't believe that fiction is dead. I know there are some people who believe that it's an outdated art form, and that to express truth today you need to work in different forms, to write books where it's perhaps not clear what's fiction and what's memoir. I have nothing against those books and love many of them very much. But we have enough space for everyone, traditional realists and hybrid writers, and experimental writers all.
I don't write fiction but I do write narrative; I write memoirs that I treat like stories, so whenever I'm using somebody I actually know as a model, I am submitting them to the agenda of a storyteller, and I feel free to do what I want.
When I write something, I can't remember in the end if this is a memory or if it's not - I'm talking about fiction. So for me, it's the same thing.
I write non-fiction quicker, and I write it on a computer. Fiction I write longhand, and that helps make it clear that it comes from a slightly different part of the brain, I think.
The old handbook on writing is 'Write what you know.' I come from an autobiographical starting place almost all of the time, but it would be a mistake to presume that I'm not using fiction to extend the narrative.
Fiction is very greedy. It will take all you know and then some. The first novel I tried to write, I was struck by this - the appetite of the blank page for ever more information, ever more data. An empty book is a greedy thing. You are right: You wind up using everything you know, and often more than once.
I did go through graduate school and I like to do research, to create something that has a certain objective solidity. The same thing influences my fiction to some degree, because, you know, my fiction is often based on history that I've read.
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.
I can write with authority only about what I know well, which means that I end up using surface details of my own life in my fiction.
I remember reading an interview with a writer who said that in nonfiction if you have one lie it sort of messes it up. But in fiction the real details give you so much more credibility, because people do so much research just to write fiction. In fiction you're trying to recreate something lifelike.
I've always been fascinated by the brain. I wrote a lot about brain-tech in my first non-fiction book, 'More Than Human.' So when I decided to write science fiction, that was the technology I gravitated towards.
Fiction is lies; we're writing about people who never existed and events that never happened when we write fiction, whether its science fiction or fantasy or western mystery stories or so-called literary stories. All those things are essentially untrue. But it has to have a truth at the core of it.
I arrived at my way of "working" as a way of visually approximating what I feel the tone of fiction to be in prose versus the tone one might use to write biography; I would never do a biographical story using the deliberately synthetic way of cartooning I use to write fiction. I try to use the rules of typography to govern the way that I "draw," which keeps me at a sensible distance from the story as well as being a visual analog to the way we remember and conceptualize the world.
I don't know if I have some kind of defiance disorder or something, but if I'm hired to write something by "The Man," or by a studio, for whatever reason, it's really hard for me to finish. I inevitably wind up using that time to write something else.
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