A Quote by Luc Sante

Redheaded Peckerwood, which unerringly walks the fine line between fiction and nonfiction, is a disturbingly beautiful narrative about unfathomable violence and its place on the land
I think, about the distinction between fiction and nonfiction. Fiction is not really about anything: it is what it is. But nonfiction - and you see this particularly with something like the BBC Samuel Johnson Prize for Non-Fiction - nonfiction we define in relation to what it's about. So, Stalingrad by Antony Beevor. It's "about" Stalingrad. Or, here's a book by Claire Tomalin: it's "about" Charles Dickens.
When you're researching things that have happened, the clear narrative arc is not there already. This is the problem of writing nonfiction for me - writing nonfiction which is about serious subjects and has serious political and social points to make, yet which is meant to be popular to a degree - what happens when the facts don't fit a convenient narrative arc? I guess that for a lot of nonfiction writers that is a central challenge.
People sometimes say hoaxes are about the blurry line between nonfiction and fiction. I just don't think it's a blurry line at all.
I am very interested in that fine line between fiction and reality and between comedy and tragedy - and pushing the line as much as possible.
There's a fine line between fiction and non-fiction and I think I snorted it somewhere in 1979
There's no division on my bookshelf between fiction and nonfiction. As far as I'm concerned, fiction is about the truth.
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.
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.
I don't read much nonfiction because the nonfiction I do read always seems to be so badly written. What I enjoy about fiction - the great gift of fiction - is that it gives language an opportunity to happen.
There is no longer any such thing as fiction or nonfiction; there's only narrative.
I need to tell the things that are important but which don't make sense in terms of the narrative, things that would destroy symmetry or narrative pace. This is my personal belief about what it means to write nonfiction.
There's a very fine line between a groove and a rut; a fine line between eccentrics and people who are just plain nuts.
There's a very fine line between a groove and a rut a fine line between eccentrics and people who are just plain nuts.
I wrote six nonfiction books before getting into narrative fiction with 'Robopocalypse,' including 'How to Survive a Robot Uprising.' My goal all along was to start writing fiction, and I guess one day I'd just had enough.
I am led to the proposition that there is no fiction or nonfiction as we commonly understand the distinction: there is only narrative.
The difference between fiction and nonfiction is that fiction must be absolutely believable.
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