A Quote by Simon Schama

The novelist's obligation to remake the sensuous texture of a vanished world is also the historian's. The strongest fiction writers often do deep research to make the thought and utterances of lost time credible.
We writers โ€“ and especially writers for children, but all writers โ€“ have an obligation to our readers: it's the obligation to write true things, especially important when we are creating tales of people who do not exist in places that never were โ€“ to understand that truth is not in what happens but what it tells us about who we are. Fiction is the lie that tells the truth, after all.
If this were fiction, could even the most brilliant novelist contrive to make credible so short a period in which pride had been subdued and prejudice overcome?
We're trying to make something that lasts in language and there's no question that many fiction writers began as poets and it's hard for me to think of any good fiction writers who don't also read poetry.
Naturally a direct comparison of terrorist and novelist is complete nonsense. But there was once a time when the novelist also had some influence on how his contemporaries thought, the way they saw the world, the way they lived.
What we call fiction is the ancient way of knowing, the total discourse that antedates all the special vocabularies....Fiction is democratic, it reasserts the authority of the single mind to make and remake the world.
Fact is often stranger than fiction because most writers of fiction try to make their stories plausible.
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.
Writers of historical fiction are not under the same obligation as historians to find evidence for the statements they make. For us it is sufficient if what we say can't be disproved or shown to be false.
Writers of historical fiction are often faced with a problem: if they include real-life people, how do they ensure that their make-believe world isn't dwarfed by truth? The question loomed large as I began reading 'The Black Tower', Louis Bayard's third foray into historical fiction and fifth novel overall.
A historian may be an artist too, and a novelist is a historian, the preserver, the keeper, the expounder, of human experience.
I only became a novelist because I thought I had missed my chance to become a historian.
Stories are not explanations of the world we live in. Science does that, and math does that. Our obligation as fiction writers is to enhance the mysteries.
Fantasy is fantasy. It's fiction. It's not meant to be a textbook. I don't believe in letting research overwhelm the fiction. That's a danger of science fiction in particular, as opposed to fantasy. A lot of writers forget that what they're doing is supposed to be art.
I did Kushi Kushiga,' the remake of Chronic Bachelor;' Kalyana Ramudu,' which is the remake of Kalyanaraman;' and also Software Ganda' in Kannada, the remake of My Boss.'
Okay, this is Fran Lebowitz. She gave an interview once for the Paris Review about trying to write fiction and saying that fiction writers start talking about how characters are talking to them, and it's crazy, she's never had that. And I also thought, I'm never gonna be able to do this, because I didn't feel that for a really long time.
Although some people think I am a romantic novelist I have always thought of myself as a rather gritty radical historian.
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