Top 1200 Writing Fiction Quotes & Sayings - Page 2

I've been writing fiction probably since I was about 6 years old, so it's something that is second nature to me now. I just sit down and start writing. I don't sit down and start writing and it comes out perfectly - it's a process.

So for a long time, I did a lot of freelance writing in addition to writing fiction and such - I was a food critic for a magazine for a bit, I did writing for nonprofits and political things, I was the editorial consultant for another magazine for a couple years, all sorts of jobs.

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.

That is as true for fiction or non-fiction. The writer has to really know their subject. It is really important to remember that the readers are a lot smarter than the writer. Also, good writing has to do with rewriting. You will never get it right the first time. So you rewrite and rewrite again until you get it right. Until you, and the reader, will be able to visualize what you're writing about.

Metafiction says something. It has to do with taking a large fiction itself and writing within it; that kind of self-reflecting writing that emerges from it can be thought of as metafictional.

My feeling is that writing Fantasy should be harder - not easier - than writing any other kind of fiction.

I can't recommend technical writing as a day job for fiction writers because it's going to be hard to write all day and then come home and write fiction.

Fiction always reveals a lot about the person who is writing it. That's the scary thing. Not in a straightforward autobiographical sense. But the flaws in a piece of fiction are, unhappily, so often also the flaws of the writer.

Fiction writing was in my blood from a very young age, but I never considered writing as a real career. I thought you had to have some literary pedigree to be a successful author, the son of Hemingway or Fitzgerald.

Writing grew out of the pleasure of escape. My novels are very much outside of my personal experience. That is why I love writing fiction. It allows me to leave my existence and inhabit other lives.

I came into science fiction at a very good time, when the doors were getting thrown open to all kinds of more experimental writing, more literary writing, riskier writing. It wasn't all imitation Heinlein or Asimov. And of course, women were creeping in, infiltrating. Infesting the premises.

Writing is writing to me. I'm incapable of saying no to any writing job, so I've done everything - historical fiction, myths, fairy tales, anything that anybody expresses any interest in me writing, I'll write. It's the same reason I used to read as a child: I like going somewhere else and being someone else.

When you're writing a book that is going to be a narrative with characters and events, you're walking very close to fiction, since you're using some of the methods of fiction writing. You're lying, but some of the details may well come from your general recollection rather than from the particular scene. In the end it comes down to the readers. If they believe you, you're OK. A memoirist is really like any other con man; if he's convincing, he's home. If he isn't, it doesn't really matter whether it happened, he hasn't succeeded in making it feel convincing.

By the time I wrote my memoir, 'Men We Reaped,' I had been running from writing it for a long time. When the events in the book were happening, I knew I'd probably write about them one day. I didn't want to. I'd studied fiction, and I was committed to establishing myself as a fiction writer first.

For me, writing plays is far more an act of the mind than of the emotions. It's a very different kind of impulse than fiction writing.

Fiction writing is an act of imagination, lived experience is secondary in many ways, writing a novel really is all about inventing worlds and people.

I grew up treating a life as a writer as a career in letters, one devoted to many kinds of writing. And so it seemed normal to study both fiction writing and the literary essay as an undergrad.

Writing is writing, and stories are stories. Perhaps the only true genres are fiction and nonfiction. And even there, who can be sure?

The key of writing fiction isn't just to remove something that the reader or listener can easily imagine. It's not a matter of being coy, or withholding information. It's allowing for multiple possibilities, recognizing the complexity of human behavior, and making the world of a piece of fiction as marvelously confounding as the world we live in.

I just feel very lucky to be able to write fiction because I think, otherwise, I would have had to spend a fortune on a psychiatrist - and I still wouldn't get 1/100th of what I get writing fiction.

One of the paradoxes of writing is that when you write non-fiction everyone tries to prove that it's wrong, and when you publish fiction, everyone tries to see the truth in it.

I love the resource of the Internet. I use it all the time. Anything I'm writing - for example, if I'm writing a scene about Washington D.C. and I want to know where this monument is, I can find it right away, I can get a picture of the monument, it just makes your life so much easier, especially if you're writing fiction. You can check stuff so much quicker, and I think that's all great for writers.

It had also been my belief since I started writing fiction that science fiction is never really about the future. When science fiction is old, you can only read it as being pretty much about the moment in which it was written. But it seemed to me that the toolkit that science fiction had given me when I started working had become the toolkit of a kind of literary naturalism that could be applied to an inherently incredible present.

Not to be too 'Tale of Two Cities' about it, but I find writing a memoir easier than writing fiction, and more difficult.

I honestly believe that everything I know about the writing of non-fiction (or writing) could be engraved on the head of a pin with a garden hoe.

I'm not writing great literature. I'm writing commercial fiction for people to enjoy the stories and to like the characters.

I don't know what that line is between fiction and non-fiction that other people have in their minds, but to me, when I'm writing, it's just like whatever the next sentence should be is the next sentence. It's not this artificial division.

Dave Eggers is a prince among men when it comes to writing deeply felt, socially conscious books that meld reportage with fiction. While A Hologram for the King is fiction...it's a strike against the current state of global economic injustice.

I find it only natural for a storyteller to be interested in storytelling and, for anyone who spends the better part of his or her life writing fiction, it is hardly surprising that the pleasures, worries, and mechanics of fiction-making should enter the work.

In fiction, you don't invent the events. What is imaginative about it is the consciousness: how you think about the events and how you present them. And that changes the nature of everything, and that is the attraction of writing fiction.

To me, cooking is man's natural activity. But I think writing is really hard. Certainly writing fiction is the hardest thing I've ever done.

In high school, in 1956, at the age of sixteen, we were not taught "creative writing." We were taught literature and grammar. So no one ever told me I couldn't write both prose and poetry, and I started out writing all the things I still write: poetry, prose fiction - which took me longer to get published - and non-fiction prose.

Even the people who have had success and made money writing these books of fiction seem to feel the need to pretend it's no big deal, or part of a natural progression from poetry to fiction, but often it's really just about the money, the perceived prestige.

With writing fiction, I'm either not courageous enough or just not suited for telling truths in a more conventional way. As an actor, I inhabit those characters as I'm writing them.

After I started writing crime fiction, I said to myself, 'I may be limited, but the genre's not. There's no reason to change genres if I'm happy writing what I write.' And I am.

I'd probably be a super wealthy guy if I had sat around writing songs and getting them placed like everyone else I know. But I write songs about people or after I meet them and they're somewhat biographical - they're fiction but also non-fiction.

I started writing when I was 11. In my late teens, I was writing short stories of every conceivable type and sent them to everything from 'Future Science Fiction' to 'The Sewanee Review.'

When you say that you write romantic fiction, there are a lot of people who have an image in their mind of the 'bodice ripper.' It's the one term that most romantic fiction writers absolutely hate because it has no bearing on what people are writing.

First of all, writing at best - certainly fiction writing - more and more I think is magic.

I don't answer the phone or do my email; I don't do anything until I've got the day's writing done. I have a word count for every day: 500 for fiction, 1,000 for non-fiction, and journalism is 1,500. That's a level I can sustain.

This sounds like a cliche, but I always wanted to write. After college, I did some writing and realized very quickly that it's hard to make a living as a writer. At that point, I was more interested in fiction writing.

I stopped writing short fiction early on - I was never really good at it, and I never liked the results. So I stopped trying to fit the material I was working with into these tidy little short fiction packages.

When I was writing for children, I was writing genre fiction. It was like making a good chair. It needed four legs of the same length, it had to be the right height and it had to be comfortable.

I love writing fiction because I can totally lose myself and I get to make up the rules of the world that I'm writing.

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.

In TV writing, I felt like Gulliver being tied down by the Lilliputians. There's so much more freedom in fiction writing.

When I'm writing fiction I'm thinking, God, this is so hard - I have to make all this stuff up! I wish I were writing a nonfiction book where all the facts are laid out and I don't have to be so much at sea.

I started out writing much more science fictiony stuff and writing about science fiction.

Angela Carter's fiction blew me away and really instilled a passion for writing, bolstered by Vladimir Nabokov. But in general, I can't point to any one thing. I just always loved books and writing.

I used to write fiction, non-fiction, fiction, non-fiction and have a clear pattern because I'd need a break from one style when going into the next book.

Something I found while writing 'Alice & Oliver' - a book that is unquestionably a work of fiction, but which also borrows details from my own life - is that writing the truth often requires invention and imagination.

Writing fiction is like music. You have to keep it moving. You can have slow movements but there has to be a sense of momentum, of going someplace. You hear a snatch of Beethoven and it has a sense of momentum that is unmistakably his. That's a nice quality if you can do it in fiction.

There's an expression, "God is in the details," and it applies to nothing more than it does to the writing of fiction. To that and to the art of telling good lies. And what is fiction but the telling of lies?

Before I started writing, I'd never read much fiction. I was more interested in non-fiction. I'm taking the same approach to theatre: I can operate from a position of ignorance and make up my own rules instead of being bound by customs and practice.

I was trained mainly as a short story writer and that's how I started writing, but I've also become very interested in non-fiction, just because I got a couple of magazine jobs when I was really poor and needed the money and it turned out that non-fiction was much more interesting than I thought it was.

I'm not a reader of young adult fiction for the simple reason that these novelists are writing for adolescents, so they are not writing for me.

I wrote six nonfiction books before getting into narrative fiction with 'Robopocalypse,' including 'How to Survive a Robot Uprising.' My goal all along was to start writing fiction, and I guess one day I'd just had enough.

It gives me confidence to know that what I'm writing has a veracity of its own without me having to invent it. When I'm writing fiction, I must believe it to be true, or I can see no point in it.

When I'm writing about reality, I'm writing about death. When I'm writing fiction, I'm writing about life.

In fiction writing, I would say there are several different strands that have been woven through my own writing, and each influenced by a different group of writers.