Top 1200 Fact And Fiction Quotes & Sayings - Page 2

Explore popular Fact And Fiction quotes.
Last updated on November 8, 2024.
I'm writing books. They're still a mix of fact and fiction and will continue to be. I think it's an interesting place to work.
When I began to write fiction that I knew would be published as science fiction, [and] part of what I brought to it was the critical knowledge that science fiction was always about the period in which it was written.
What they [critics of Lessing's switch to science fiction] didn't realize was that in science fiction is some of the best social fiction of our time. — © Doris Lessing
What they [critics of Lessing's switch to science fiction] didn't realize was that in science fiction is some of the best social fiction of our time.
I adore [photography's] uneasy mix of fact and fiction - its dubious claim to truth - its status as history.
I think people like to have their categories clear. They want to know if it's fiction or fact, biopic or not.
Collins masterfully blends fact and fiction...transcends the historical thriller.
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.
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.
My old English buddy, John Rackham, wrote and told me what made science fiction different from all other kinds of literature - science fiction is written according to the science fiction method.
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.
Fiction is more dangerous than nonfiction because it can seduce better. I think we all know this, know that deeper truths can be approached in fiction than in fact. There are risks for the reader, because after reading certain books you find you have changed irreversibly. There are risks for writers: in China, now, and Ethiopia and other countries right now, writers face real persecution.
I think fiction can help us find everything. You know, I think that in fiction you can say things and in a way be truer than you can be in real life and truer than you can be in non-fiction. There's an accuracy to fiction that people don't really talk about - an emotional accuracy.
There's no mistaking the fact that some of the best longform fiction out there now is in American television. 'The Wire' and 'Deadwood' and 'The Sopranos.'
To be perfectly frank: I don't write women's fiction. I write intimate, gritty, realistic, character-driven fiction that happens to be thrown into the women's fiction category.
I haven't written a word of fiction since 2009. I have no desire to write fiction. I did what I did and it's done. There's more to life than writing and publishing fiction. There is another way entirely, amazed as I am to discover it at this late date.
There are writers who draw immediate attention to the fact that it's fiction. And I like some of that, but it doesn't really have the power. — © Ethan Canin
There are writers who draw immediate attention to the fact that it's fiction. And I like some of that, but it doesn't really have the power.
Sometimes, fact mixed with fiction so thoroughly that, though no lies were told, it was hard to remember what was strictly true.
The fact is that one of the earliest lessons I learned in business was that balance sheets and income statements are fiction, cash flow is reality.
Some major writers have a huge impact, like Ayn Rand, who to my mind is a lousy fiction writer because her writing has no compassion and virtually no humor. She has a philosophical and economical message that she is passing off as fiction, but it really isn't fiction at all.
I'd rather let the fiction speak for itself and I don't want to write fiction that tells people how to feel, and I don't want to be judgmental in the fiction.
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.
There's a convention that books are mirrors of the real world, but our fact-obsessed age also wants fiction to be factually based and trustworthy.
It gets scary when you're dealing with people who don't know how to separate fact from fiction.
Let it be fact, one feels, or let it be fiction; the imagination will not serve under two masters simultaneously.
Max Allan Collins blends fact and fiction like no other writer.
This fact was something I also learned from this first novel that I needed personal experience to invent, to fantasize, to create fiction, but at the same time I needed some distance, some perspective on this experience in order to feel free enough to manipulate it and to transform it into fiction. If the experience is very close, I feel inhibited. I have never been able to write fiction about something that has happened to me recently. If the closeness of the real reality, of living reality, is to have a persuasive effect on my imagination, I need a distance, a distance in time and in space.
To newspapers and publishing houses I urge the use of fact over fiction, freedom of the press, and responsibility at all times.
Travel books are, by and large, boring. They lodge uncomfortably between fact, fiction and autobiography.
Do you not see with your own eyes the chrysalis fact assume by degrees the wings of fiction?
A blend of fact and fiction has been used in various forms since the dawn of creative writing, starting with sagas and epic poems.
Our first ideas of life are generally taken from fiction rather than fact.
Science fiction is a weird category, because it's the only area of fiction I can think of where the story is not of primary importance. Science fiction tends to be more about the science, or the invention of the fantasy world, or the political allegory. When I left science fiction, I said "They're more interested in planets, and I'm interested in people."
It's always great when you want scientific fact to get a really good science fiction writer to talk to you about it.
The blurring of fact and fiction has great commercial potential, which is bound to be corrupting in historical terms.
The traditional route to success in science fiction is by making a name for yourself in short fiction, so people who read science fiction magazines will recognize your byline on a novel.
The final belief is to believe in a fiction, which you know to be a fiction, there being nothing else. The exquisite truth is to know that it is a fiction and that you believe in it willingly.
Fact and fiction carry the same intrinsic weight in the marketplace of ideas. Fortunately, reality has no advertising budget.
Sometimes when we label something dystopian fiction, I feel like we're trying very hard not to use the words 'science fiction,' because science fiction has those horrible connotations of rocket ships and bodacious babes.
As you see, I bear some resentment and some scars from the years of anti-genre bigotry. My own fiction, which moves freely around among realism, magical realism, science fiction, fantasy of various kinds, historical fiction, young adult fiction, parable, and other subgenres, to the point where much of it is ungenrifiable, all got shoved into the Sci Fi wastebasket or labeled as kiddilit - subliterature.
Great fiction has been written out of the very darkest circumstances of our narco violence, and nothing written in either fiction or nonfiction has penetrated that darkness so memorably - you can even say beautifully, a relentless riveting forensic dark beauty that some readers in fact find themselves unable to endure - as Roberto Bolaño's 2666. Especially in "The Part about the Crimes." But here's the thing: nobody would call 2666 a "narco novel."
There is only one definition of science fiction that seems to make sense: 'Science fiction is anything published as science fiction.' — © Norman Spinrad
There is only one definition of science fiction that seems to make sense: 'Science fiction is anything published as science fiction.'
When I'm writing fiction, I'm sort of interested by the fact that somehow or other I can have the feeling of actually seeing things through someone else's eyes.
The difference between travel writing as fiction is the difference between recording what the eye sees and discovering what the imagination knows. Fiction is pure joy - how sad that I could not reinvent the trip as fiction.
Of course, it's always difficult to disentangle fact from fiction in relation to, e.g., the singularity project. Many scientists I know are dismissive of transhumanist claims, BUT the last 100 years has surely taught us never to underestimate the pace and scope of scientific progress. However, even if much of this turns out to be science-fiction, it also reveals a way of thinking about human life that I find deeply troubling.
Creative non-fiction is such a liberating genre because it allows the non-fiction writer, whether he or she be journalist or essayist, to use all of the techniques of the fiction writer and all of the ideas, creative approaches, that fiction writers get a chance to use, but they have to use it in a true story.
The adage that fact is stranger than fiction seems to be especially true for the workings of the brain.
I never, as a reader, have been particularly interested in dystopian literature or science fiction or, in fact, fantasy.
Historical fiction is not only a respectable literary form; it is a standing reminder of the fact that history is about human beings.
I've loved science fiction my whole life. But I've never made a science fiction movie. And it's [World Of Tomorrow] sort of a parody of science fiction at the same time. It's all of the things I find interesting in sci-fi amplified.
We are tired of the pretense that we have special privileges and the reality that we have none; of the fiction that we are queens, and the fact that we are subjects.
Why couldn't the world that concerns us- be a fiction? And if somebody asked, 'but to be a fiction there surely belongs an author?'- couldn't one answer simply: 'Why? Doesn't this "belongs" perhaps belong to the fiction, too?'
I spend most of my time reading non-fiction of all sorts. Then poetry. Then fiction to blurb. Then fiction I want to read. — © Jim Shepard
I spend most of my time reading non-fiction of all sorts. Then poetry. Then fiction to blurb. Then fiction I want to read.
In fact, one could argue that the skill of the fiction writer boils down to the ability to exploit intensity.
A non-fiction writer pretty much has the shape of the figure in front of him or her and goes about refining it. A work of non-fiction is not as difficult to write as a work of fiction, but it's not as satisfying in the end.
As far as I'm concerned, the only difference between fact and what most people call fiction is about fifteen pages in the dictionary.
Once you step inside, history has to be rewritten to include you. A fiction develops a story that weaves you into the social fabric, giving you roots and a local identity. You are assimilated, and in erasing your differences and making you one of their own, the community can maintain belief in its wholeness and purity. After two or three generations, nobody remembers the story is fiction. It has become fact. And this is how history is made.
I spend my life writing fiction, so reading fiction isn't much of an escape. That's not always true, but I don't read much contemporary fiction.
Giving the same value to fiction as to fact in the interest of so-called fairness is to mislead the American people and the press has become party to that.
We live in interesting times. Information overload can make it difficult to sift fact from fiction.
To those who think that all this sounds like science fiction, we point out that yesterday's science fiction is today's fact. The Industrial Revolution has radically altered man's environment and way of life, and it is only to be expected that as technology is increasingly applied to the human body and mind, man himself will be altered as radically as his environment and way of life have been.
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