Redheaded Peckerwood, which unerringly walks the fine line between fiction and nonfiction, is a disturbingly beautiful narrative about unfathomable violence and its place on the land
I like science fiction. Arthur C. Clarke, Philip K. Dick and Vonnegut, and I really like Margaret Atwood, 'The Handmaid's Tale. ' And you know, so much of science fiction has to do with predicting what's to come, so I think that's really interesting.
I definitely want to write some fiction, for sure. I already have half of the next book. I already have it all mapped out. I'm ready. I'm ready to bring it to the world.
Unless your aim is to deceive, there's not a meaningful distinction between memoir and fiction. They're marketing categories.
Science-fiction balances you on the cliff. Fantasy shoves you off.
I wrote speculative fiction because I loved to read it, and thought I could do better than some of the people who were getting published.
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.
Houdini, the magician who debunked magic, could not bear to see the great rationalist [Arthur Conan] Doyle enchanted by ghosts and frauds. And so he did what any friend would: He set out to prove spiritualism false and rob his friend Doyle of the only comforting fiction that was keeping him sane. It was the least he could do.
It's kind of alarming for me to realize that, when I'm writing stories about times I remember, it's already historical fiction.
I never wanted to be "a writer"; I only ever aspired to be an science fiction writer. They'll tear that badge out of my cold dead hands.
Anything processed by memory is fiction.
Science fiction annoyed me because it was like, "Why is the world as it is not enough for you?"
I try and make non-fiction films that feel like fiction, so I'm always looking for the subtext and that's what really excites me.
I want to keep working. I want to step away from young adult fiction. I want to do theater periodically - Farragut North reminded me how great it is. I started out in theater. I trained in theater and then I kind of fell into film and TV. I want to work with interesting artists, talented actors, talented directors, and talented scripts. Not necessarily leading roles.
English fiction was something I loved growing up, and it changed my life - it changed the trajectory of my life.
I can't imagine turning into one of those codgers who no longer reads fiction. I'm regularly stirred by it and suffer no anxiety of influence. Influence me! That was my credo then, as I was developing and learning, and remains so now, as I'm developing and learning.
Great genius takes shape by contact with another great genius, but, less by assimilation than by fiction.
It was strange to think that all the great women of fiction were, until Jane Austen's day, not only seen by the other sex, but seen only in relation to the other sex. And how small a part of woman's life is that.
Anyone can write a specification, but if nobody implements it, what is it but a particularly dry form of science fiction.
It's all just fictions anyway. We do what we do and then we make up reasons for it afterward but they're never the true reasons, the truth is always just out of reach.