Every fictional thing I wrote gave me strength to write another and another. By the end I wasn't remaining true to anything but the story I wanted to tell.
Fictional comedy tells us that the writer is remarkable. Factual comedy tells us that the world is remarkable. I suppose I prefer to live in a remarkable world.
As far as I am concerned, Don Quixote is the most metal fictional character that I know. Single handed, he is trying to change the world, regardless of any personal consequences.
I feel better off doing what I know how to do. I feel a strong element of fictional style in travel writing anyway. Some call it creative nonfiction.
The way superheroes dominate the fictional landscape now, along with dystopian futures and zombies. Yeah, definitely - I think these stories function as a kind of mythology for us.
In good novelistic fashion, the discovery I’ve made is that it’s complicated. I think that’s one of good things about exploring these questions in a non-polemic, fictional way: you get to feel out territory rather than take positions. Through writing this, I can understand the impulse to faith, how people make meaning, how people make community, without having to say, do this, don’t do that, or I believe, I don’t believe.
I had a fan who had a fictional relationship with me. She wrote letters to me and then wrote return letters to herself (from me). In her mind, we were married and had two children. Her parents finally uncovered this delusional life she was living and she got help.
It would require constant vigilance to not replace each person with my own fictional version of them.
Carlton Mellick III is one of bizarro fiction's most talented practitioners, a virtuoso of the surreal, science fictional tale.
Like the sand and the oyster, it's a creative irritant. In each poem, I'm trying to reveal a truth, so it can't have a fictional beginning.
History is filled with fictional people.
Being in Washington is more fictional than being in Hollywood.
I quote fictional characters, because I'm a fictional character myself!
I've never gone through the paces that writing textbooks sometimes recommend, such as writing out a character's biography, or determining what his favorite food is, or most traumatic memory, etc. - that's always seemed like a fraudulent way of assembling a fictional person.
I actually dislike, more than many people, working through literary allusion. I just feel that there's something a bit snobbish or elitist about that. I don't like it as a reader, when I'm reading something. It's not just the elitism of it; it jolts me out of the mode in which I'm reading. I've immersed myself in the world and then when the light goes on I'm supposed to be making some kind of literary comparison to another text. I find I'm pulled out of my kind of fictional world, I'm asked to use my brain in a different kind of way. I don't like that.
In every film, whether it's a fictional character or not, you create an idea of the character and for me I always do a bad impersonation to start with.
With Marvel and DC, you're working with their pre-established fictional universes and characters. At those places, you're working with characters who will outlive you and maybe your children and your childern's children. Batman will outlive me, Spider-Man will outlive me, the Avengers will outlive me, and so it goes.
Time limits are fictional. Losing all sense of time is actually the way to reality. We use clocks and calendars for convenience sake, not because that kind of time is real.
I just realized that I never look at a painting and ask, 'Is this painting fictional or non-fictional?' It’s just a painting.
If we show fictional characters doing cool stuff, then girls will want to be it in real life.
