Top 1200 Realistic Fiction Quotes & Sayings - Page 2

There've been a few mother-daughter movies that are somewhat realistic. But the mother-son movies are more comical than realistic: 'Throw Momma from the Train,' 'Stop! or My Mom Will Shoot.' You don't sit in the dark and go, 'Oh my God, that's my mother.'

You have to be realistic in the use of blood in the movies. There is a little bit more than a gallon in a human being. If you have a few thousand people, that makes a lot of blood. I'm very realistic in my use of blood.

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.

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.

The Captains of Industry have always counseled the rest of us "to be realistic." Let us, therefore, be realistic. Is it realistic to assume that the present economy would be just fine if only it would stop poisoning the air and water, or if only it would stop soil erosion, or if only it would stop degrading watersheds and forest ecosystems, or if only it would stop seducing children, or if only it would stop buying politicians, or if only it would give women and favored minorities an equitable share of the loot?

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.

People who complain often say things like, 'I'm not being negative, I'm just being realistic.' Really? How is it anymore 'realistic' to focus on and talk about things that discourage us and make us feel bad, than to focus on and talk about the POSITIVE aspects of life that make us feel GOOD? Both area equally REALISTIC, but which you choose to dwell on has a very different impact on the quality of YOUR life.

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.

I think it's realistic to have hope. One can be a perverse idealist and say the easiest thing: 'I despair. The world's no good.' That's a perverse idealist. It's practical to hope, because the hope is for us to survive as a human species. That's very realistic.

One of the primary differences for me between fiction and poetry is that fiction uses every sort of tool that poetry does but hides it much, much more. Fiction doesn't necessarily reveal what it's doing with rhythm and sound and patterning.

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?'

Realism should only be the means of expression of religious genius... or, at the other extreme, the artistic expressions of monkeys which are quite satisfied with mere imitation. In fact, art is never realistic though sometimes it is tempted to be. To be really realistic a description would have to be endless.

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.

I don't write science fiction. I've only done one science fiction book and that's Fahrenheit 451, based on reality. Science fiction is a depiction of the real. Fantasy is a depiction of the unreal.

As the CG in motion capture made it look realistic, it put more of an onus on the game makers to make the dialogue they're saying more realistic. It doesn't matter what they say when they're 8-bits, but if they look almost photo-real, it matters. More and more, the games industry is realising that.

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.

Science fiction, as I mentioned before, writes about what is neither impossible nor possible; the fact is that, when the question of possibility comes up in science fiction, the author can only reply that nobody knows. We haven't been there yet. We haven't discovered that yet. Science fiction hasn't happened.

I have a lot of blurring between fiction and non-fiction in so many of my works. For example, my first novel, 'When Nietzsche Wept,' has a great deal of non-fiction in it. I didn't create many characters at all. Almost all of them are historical characters that actually existed.

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.

When I graduated from law school in 1959, there wasn't a single woman on any federal bench. It wouldn't be a realistic ambition for a woman to want to become a federal judge. It wasn't realistic until Jimmy Carter became our president.

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.

A fine memoir is to a fine novel as a well-wrought blanket is to a fancifully embroidered patchwork quilt. The memoir, a logical creation, dissects and dignifies reality. Fiction, wholly extravagant, magnifies it and gives it moral shape. Fiction has no practical purpose. Fiction, after all, is art.

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."

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.

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.

I am drawn to writing books about magic and the supernatural because those are the types of books I like to read. I've written many short stories with realistic settings, and I certainly wouldn't rule out realistic novels in the future!

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.

It's once I discover the people inside that the story really gets going, and then the formal invention becomes less important. It's just the way in; it's the door; and then what's behind it is always some kind of people, which I think probably makes me more in the tradition of realistic fiction because that's usually what I'm interested in, the people.

Americans have grown a great deal more realistic about lawyers and the law. I think that's all for the good. A lot of people will say to you these days, 'If you are looking for justice, don't go to a courtroom.' That's just a more realistic perspective on what happens in the legal process.

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.

To put more American personnel in harm's way without a realistic chance for success is something I'm not in favor of. And a realistic chance for success depends upon having the Iraqis with the will and the ability to fulfill their share of the bargain, and so far they have not.

I prefer non-fiction to fiction. In fact, I don't read fiction at all. I read books that are based on true events.

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.

As a child, I was always a sucker for anything in miniature, and it didn't have to be a dress: a desk, a Matchbox truck. Perhaps a childhood attraction to shrunken but compellingly realistic facsimiles is commonplace, if only because children themselves are compellingly realistic facsimiles of the giants who rule their world.

Fantasy is not antirational, but pararational; not realistic but surrealistic, a heightening of reality. In Freud's terminology, it employs primary not secondary process thinking. It employs archetypes which, as Jung warned us, are dangerous things. Fantasy is nearer to poetry, to mysticism, and to insanity than naturalistic fiction is. It is a wilderness, and those who go there should not feel too safe.

There are so many stories to tell in the worlds of science fiction, the worlds of fantasy and horror that to confine yourself to even doing historical revisionist fiction, whatever you want to call it - mash-ups, gimmick lit, absurdist fiction - I don't know if I want to do that anymore.

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.

I find it interesting that people often seem to believe that authors of realistic fiction are directly translating their personal experiences into their work. The fact is that telling a story is a transformative experience. There is rarely a one-to-one translation onto the page unless you're writing memoir, and even then, memory is unreliable. I think that the best books feel emotionally true, and that truth has to be rooted in real-world experience.

I remember reading an interview with a writer who said that in nonfiction if you have one lie it sort of messes it up. But in fiction the real details give you so much more credibility, because people do so much research just to write fiction. In fiction you're trying to recreate something lifelike.

There is only one definition of science fiction that seems to make sense: 'Science fiction is anything published as science fiction.'

I like 'Brawl in Cell Block 99.' I think Vince Vaughn is incredible and I've never seen Don Johnson like that. It is very realistic. Some people say it is a horror film. It is not a horror film at all. It is very realistic.

I was a teacher most of my life, which I loved. I had a very happy working life, and when I retired, I thought I must do something, and I've always read a lot of fiction - you learn so much from fiction. My sentimental education came mostly from fiction, I should say, so I thought I'd try.

All my life, my girlfriends are always skinny. Beauty in art has nothing to do with beauty in reality. Why do you like primitive art? Because there is beauty in the deformity. Sometimes paintings that people consider realistic are not at all. Raphael figures look realistic, but in real life, they were deformed.

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.

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 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.

I spend most of my time reading non-fiction of all sorts. Then poetry. Then fiction to blurb. Then fiction I want to read.

I tend to avoid melodrama. I try to create very realistic settings and very realistic experiences and realistic responses to these experiences. Melodrama is the use of really big events that may or may not happen in real life - certainly they do, but they're not events that are common to most people. Most of the things that happen in my novels are things that could happen to people in real life.

Literary science fiction is a very, very narrow band of the publishing business. I love science fiction in more of a pop-culture sense. And by the way, the line between science fiction and reality has blurred a lot in my life doing deep ocean expeditions and working on actual space projects and so on. So I tend to be more fascinated by the reality of the science-fiction world in which we live.

I just think it would be unrealistic to suggest we're going to eliminate every last domestic insurgent in Afghanistan. Certainly, the history of the country would indicate that's not a very realistic objective, and I think we have to have realistic objectives.

I want a better world, but also a realistic world. We can only create a better world by becoming realistic.

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.

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.

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.

Memory is like fiction; or else it's fiction that's like memory. This really came home to me once I started writing fiction, that memory seemd a kind of fiction, or vice versa. Either way, no matter how hard you try to put everything neatly into shape, the context wanders this way and that, until finally the context isn't even there anymore... Warm with life, hopeless unstable.

I don't think about myself having any form or style. Although it does tend to be rather realistic; not too stylised at all, it's not as exaggerated as comic art normally is. I try to go for a more realistic looking approach to my art.

I'm realistic about my age and realistic about the fact that there's an awful lot less in front of me than there is behind me. I've always felt that music is an art form that deserves to live the life of the artist.

I can be very snobby about fiction, especially contemporary fiction. I can be kind of overly demanding, I think. But this is, I think, a good time. A lot of fiction comes out right now. So, I like reading the memoir. I love memoir, the biography, auto bio.

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.

Science Fiction is not just about the future of space ships travelling to other planets, it is fiction based on science and I am using science as my basis for my fiction, but it's the science of prehistory - palaeontology and archaeology - rather than astronomy or physics.