A Quote by Oscar Wilde
The only form of fiction in which real characters do not seem out of place is history. In novels they are detestable.
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I seem to turn out stories that violate the discipline of the short story form and don't obey the rules of progression for novels. I don't think about a particular form: I think more about fiction, let's say a chunk of fiction.
So much history, if you or I were to write it, could seem a fiction. These separations, these lines that tell us this is fiction or non-fiction, that this is history or this is a novel, are often useless.
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.
Mostly the natural landscapes work as a sounding board for my characters, so they can understand themselves, and it acts as a mirror in which we readers see ourselves. The natural world is the place into which all my characters have to situate themselves in order to be who they really are, and that makes my rural fiction feel different from a lot of urban fiction.
There's no real objection to escapism, in the right places... We all want to escape occasionally. But science fiction is often very far from escapism, in fact you might say that science fiction is escape into reality... It's a fiction which does concern itself with real issues: the origin of man; our future. In fact I can't think of any form of literature which is more concerned with real issues, reality.
I define science fiction as the art of the possible. Fantasy is the art of the impossible. Science fiction, again, is the history of ideas, and they're always ideas that work themselves out and become real and happen in the world. And fantasy comes along and says, 'We're going to break all the laws of physics.' ... Most people don't realize it, but the series of films which have made more money than any other series of films in the history of the universe is the James Bond series. They're all science fiction, too - romantic, adventurous, frivolous, fantastic science fiction!
specialize in small cast/single reader long fiction so I only compete against other podcasts of novels in that form.
As a writer of fiction, I spend my days inventing real lives for make-believe people; what I create can only seem real.
I've written 17 novels, and I've found out that fiction can't keep up with real life.
Writing historical novels can be dangerous. We need to be as accurate and as fair about the historical record as we can be, at the same time as creating our fictional characters and, hopefully, telling a good story. The challenge is weaving the fiction into the history.
Whether these characters are lovable or detestable, they're lovable or detestable in a TV way - defined by a minimal set of traits that are endlessly reiterated and incapable of expansion or alteration, a fixed loop.
The world is full of novels in which characters simply say and do. There are certainly legitimate genres in which this is sufficient. But in real and lasting writing the character is.
'The Things They Carried' is labeled right inside the book as a work of fiction, but I did set out when I wrote the book to make it feel real... I use my own name, and I dedicated the book to characters in the book to give it the form of a war memoir.
Narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verité is film in its purest form. You're taking random images and creating meaning out of random images, telling a story, getting meaning, capturing something that's real, that's really happening, and render this celluloid sculpture of this real thing. That's what really separates the power of doc filmmaking from fiction.
I've never written a fiction before about real people. . . . I read everything that I could find by people who met them and tried to get some impression of them, but as always when you write fiction, even if you have completely fictitious characters, you start by thinking of what is plausible, what would they say, what would they be likely to do, what would they be likely to think. At some point, if it is every going to come to life, the characters seem to take over and start speaking themselves, and it happened with [COPENHAGEN].
Slipstream fiction is usually defined as fiction with a contemporary setting in which story elements are mimetic (that is, seem real) - except for one or two eerie strangenesses. Unlike outright fantasy, these are not explained or integrated into an alternate-reality setting.
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