A Quote by Kathleen Rooney
If a reader believes that everything in nonfiction or history is just objectively true, I don't really know what to tell them, except that at least in fiction, the choice of what perspective and bias to tell a given story from - which is always a deliberate choice - is foregrounded and clear.
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Fiction and nonfiction are not so easily divided. Fiction may not be real, but it's true; it goes beyond the garland of facts to get to emotional and psychological truths. As for nonfiction, for history, it may be real, but its truth is slippery, hard to access, with no fixed meaning bolted to it. If history doesn't become story, it dies to everyone except the historian.
The best time to tell your story is when you have to tell your story. When it's not really a choice. But then, when you get that first, messy, complicated version down, you have to read it over and be very tough on yourself and ask, 'Well what's the story here?' If you're lucky enough to have someone you trust looking over your shoulder, he or she can help you if [you] lack perspective on your own story.
You know how sometimes you tell yourself that you have a choice, but really you don't have a choice? Just because there are alternatives doesn't mean they apply to you.
Pain or perspective, that's the choice.' . . . You choose pain - you choose to fight it, deny it, bury it - then yes, the choice is always hard. But you choose perspective - embrace your history, give it credit for the better person it can make you, scars and all - the choice gets easier every time.
America has this fascination with glorifying the villain and not talking about the trials and tribulations. We tell the story of the successful villain a lot of times, but we don't tell the story of the people who don't come out so successful, and we don't tell the story of all the bystanders of that choice.
The most difficult part of writing a book is not devising a plot which will captivate the reader. It's not developing characters the reader will have strong feelings for or against. It is not finding a setting which will take the reader to a place he or she as never been. It is not the research, whether in fiction or non-fiction. The most difficult task facing a writer is to find the voice in which to tell the story.
my crime books are actually novels and are written as such. One might even say that each one is really two novels, one of which is the story I tell the reader, and the other the buried story I know and let slip now and then into a clue to whet the reader's interest.
I promised myself that I would write as well as I can, tell the truth, not to tell everything I know, but to make sure that everything I tell is true, as I understand it. And to use the eloquence which my language affords me.
I have no choice of living or dying, you see, sir--but I do have a choice of how I do it. If I tell them not to fight, they will be sorry, but they will fight. If I tell them to fight, they will be glad, and I who am not a very brave man will have made them a little braver.
Memoirists, unlike fiction writers, do not really want to 'tell a story.' They want to tell it all - the all of personal experience, of consciousness itself. That includes a story, but also the whole expanding universe of sensation and thought ... Memoirists wish to tell their mind. Not their story.
I didn't tell him I was a virgin, just that I hadn’t done it “that much.” It hurt a little more than I'd expected but in a different way, and he was nervous too and he never came. Afterwards we lay there and talked, and I could tell he was a really nice person. I commended myself for making a healthy, albeit hasty, partner choice. I really couldn't wait to tell my mom.
I don't know if I approach choice any differently than the sighted people do, but what I am very cognizant of is that choice does have limits and because of that I really try to take advantage of the domains in which I do have choice.
When we're in the story, when we're part of it, we can't know the outcome. It's only later that we think we can see what the story was. But do we ever really know? And does anybody else, perhaps, coming along a little later, does anybody else really care? ... History is written by the survivors, but what is that history? That's the point I was trying to make just now. We don't know what the story is when we're in it, and even after we tell it we're not sure. Because the story doesn't end.
I put out a good 10 different types of drinks for them and they just said, "Oh, okay, so it's just one choice." One choice? I gave you Coke, Pepsi, Ginger Ale, Sprite. They saw that as one choice. Now why was that one choice? Because they felt, well, it was just all soda.
Prose gets divided up into fiction and nonfiction and short fiction and long fiction and autobiographical nonfiction and so on. Poetry can do any of those things except with the added definition of intensified formal pressure.
When I write fiction, I never try to deliver a message; I just want to tell a story. But I admit that I want the story to be memorable and the characters to touch the reader's heart.
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