A Quote by Nell Freudenberger

Novels shouldn’t aspire to answer questions, and I wouldn’t presume to offer advice about love or marriage in any case. What’s fascinating to me about marriage as a subject for fiction—a subject that fiction has taken on with gusto since the 19th century—is how unknowable other people’s relationships are. Even the marriages of your parents, your siblings, your closest friends always remain something of a mystery. Only in fiction can you pretend to know people completely.
I love 19th century fiction and, in particular, fiction written by and about women.
I think all of us begin as writers. I wanted to be a writer from the time I as eight, long before I heard of jazz. The question is, once you have that obsession, what is your subject going to be and you often don't know for some time. It might become fiction, it might be non-fiction, and if it's non-fiction it can go in any number of directions.
Fiction ought to announce the problems, dramatize the problems, display them. Yet offer no set answer. An answer would solve the mystery. Writing fiction, for me, is about putting on paper my obsessive interest in something mysterious. I may figure out the source of the mystery, the things that brought some action or image to my mind, but to make an equation of it would ruin the story.
I'm just interested in serialization in fiction. I'm fascinated by it. I love the 19th-century novels. I'm interested in ways to bring that back to fiction.
We're completely confused about the boundaries between fiction and non-fiction. To me, the moment you compose, you're fictionalising; the moment you remember, you're dreaming. It's ludicrous that we have to pretend that non-fiction has to be real in some absolute sense.
I cannot say how strongly I object to people using other people's writing as research. Research is non-fiction, especially for horror, fantasy, science fiction. Do not take your research from other people's fiction. Just don't.
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.
I love fiction, you know? I find it fascinating. So when film really does go into fictional places, that's the most exciting for me. And when the fiction is about the person rather than about the place, that's even more exciting.
I could write historical fiction, or science fiction, or a mystery but since I find it fascinating to research the clues of some little know period and develop a story based on that, I will probably continue to do it.
My views are very fluctuating. I have very contradictory takes on the subject. Dating is easier, while marriage is hard work. You see your friends having early divorces, and on the other hand, you see your parents having a successful marriage.
In general, fiction is divided into 'literary fiction' and 'commercial fiction.' Nobody can definitively say what separates one from the other, but that doesn't stop everybody (including me) from trying. Your book probably will be perceived as one or the other, and that will affect how it is read, packaged and marketed.
Even though I always claimed that I didn't want to write about something - once I wasn't writing fiction, anyway; I think for me the change from fiction to poetry was that in fiction I was writing about something, in poetry I was writing something.
People talked about being a parent, or being a mother or a father. We don't talk about "wiving" our husbands or "friending" our friends, or "childing" our parents. We just talk about being in a relationship with those people. You don't measure whether your marriage was good based on whether or not your husband is better now than he was 10 years ago, or whether your friend is richer than when they first became your friend. The relationships between parents and children is a kind of love, rather than a kind of work.
There's an imperative to make sure you distinguish fiction from the fact, because if the fact is doing the work, why did you do fiction? And once you raise the question of why - why do fiction? - then you have to answer it in your text as a kind of enactment of the answer.
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 think that with marriages, people have to understand that you have to look at your marriage and understand what is needed in your marriage - not what people think your marriage should be or what people want your marriage to be.
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