A Quote by Susan Isaacs
Being a novelist is the adult version of a kid creating a make-believe world. But unlike a child, a writer of fiction has to come up with a structured story, one that has as much meaning for others as it has for her.
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Historical fiction is actually good preparation for reading SF. Both the historical novelist and the science fiction writer are writing about worlds unlike our own.
One of my standard - and fairly true - responses to the question as to how story ideas come to me is that story ideas only come to me for short stories. With longer fiction, it is a character (or characters) coming to visit, and I am then obliged to collaborate with him/her/it/them in creating the story.
I do not believe in a child world. It is a fantasy world. I believe the child should be taught from the very first that the whole world is his world, that adult and child share one world, that all generations are needed.
Being a kid is so much more fun than being an adult. I think that's the crux of it. I think men are just less inclined to grow up because it's much more fun being a child.
There is a saying: 'The child is parent to the adult', which means whatever happens to you as a child or teenager affects the adult you become. You are forged in your history. And fiction is an incredibly important force in shaping children, and that's why fiction needs to be diverse.
I wanted nothing less than to be a fiction writer when I was a kid. If you had told me I would be an artist or novelist when I grew up, I would have laughed in your face
I wanted nothing less than to be a fiction writer when I was a kid. If you had told me I would be an artist or novelist when I grew up, I would have laughed in your face.
A real good artist is basically a grown-up kid, who never kills the kid. What we call being an adult is basically about killing the kid. People think you have to forget about the kid to become an adult and deal with grown-up problems. But, that's bullshit. We are still kids. It's the same, you just grow up. You're a kid with more experience.
I have come to believe that in order to thrive, a child must have at least one adult in her life who shows her unconditional love, respect, and confidence.
As far I'm concerned, being an adult is way more fun than being a kid. But then I was a kid who wanted to be an adult. I'd watch shows like 'Bewitched' and see Darren come home and mix a martini and I'd go, 'That looks awesome! I want to do that!'
I believe that maturity is not an outgrowing, but a growing up: that an adult is not a dead child, but a child who survived. I believe that all the best faculties of a mature human being exist in the child. . . that one of the most deeply human, and humane, of these faculties is the power of imagination.
I always wanted to be a fiction writer, but I couldn't figure out how you could be a novelist and make any money, which continues to be a problem for novelists the world over.
I guess, when I left university, I liked the idea of being a writer, and I thought then that being a writer really meant that you were a novelist. But if one of the impulses for being a novelist is wanting to be a storyteller, I never had any urge to tell stories.
A story is a way to say something that can't be said any other way, and it takes every word in the story to say what the meaning is. You tell a story because a statement would be inadequate. When anybody asks what a story is about, the only proper thing is to tell them to read the story. The meaning of fiction is not abstract meaning but experienced meaning.
I've always assumed that every time a child is born, the Divine reenters the world. Okay? That's the meaning of the Christmas story. And every time that child's purity is corrupted by society, that's the meaning of the Crucifixion story. Your man Jesus stands for that child, that pure spirit, and as its surrogate, he's being born and put to death again and again, over and over, every time we inhale and exhale, not just at the vernal equinox and on the twenty-fifth of December.
Time passes, as the novelist says. The single most useful trick of fiction for our repair and refreshment: the defeat of time. A century of family saga and a ride up an escalator can take the same number of pages. Fiction sets any conversion rate, then changes it in a syllable. The narrator’s mother carries her child up the stairs and the reader follows, for days. But World War I passes in a paragraph. I needed 125 pages to get from Labor Day to Christmas vacation. In six more words, here’s spring.
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