Whoever knows that the mind is a fiction and devoid of anything real knows that his own mind neither exists nor doesn't exist.
No matter how many books I write, I will eventually get to fiction. That is where I'm going.
To be a successful fiction writer you have to write well, write a lot … and let ‘em know you’ve written it! Then rinse and repeat.
I think what makes compelling fiction or cinema is when you're basically taking the most intense moments of experience and you're creating a song or a narrative out of it.
Fiction is a very powerful tool for teaching history. The Philippines was the first Iraq, the first Vietnam, the first Afghanistan, in the sense that it was the United States' initial or baptismal experience in nation-building.
I'd always read omnivorously and often thought much literary fiction is read by young men and women in their 20s as substitutes for experience.
My intent was to gain experience for fiction I eventually hoped to write. But there's no question I was drawn in by the hope that journalism would be a creative, thrilling environment.
Of course I didn't pioneer the use of food in fiction: it has been a standard literary device since Chaucer and Rabelais, who used food wonderfully as a metaphor for sensuality.
In TV writing, I felt like Gulliver being tied down by the Lilliputians. There's so much more freedom in fiction writing.
'Lucky Us' ends with a description of a photograph of the novel's fictional family. I could never get enough of my own family photo albums.
The history of fiction is about family - an inexhaustible subject for literature. We are creatures driven by emotions that are on high display in intimate relations - inside the family.
Nonfiction speaks to the head. Fiction speaks to the heart. Poetry speaks to the soul. It's the essence of beauty. The essence of pain. It pleases the eye and the ear.
I don't read many business books. I read good fiction. Business is about people, so my favorite business books are anything by Dickens.
Readers of fiction read, I think, for a deeper embrace of the world, of reality. And that's brave. I never get over being thankful for that - for the courage of my readers.
Whether I'll get the chance to write fiction, I don't know. I could do political conspiracy thrillers, couldn't I? With an investigative journalist as the heroine.
Anyone who says, 'Books don't change anything,' or - more commonly - that crime fiction is the wrong genre for promoting social change - should take a closer look.
I populated 'The Bourne Identity' with real characters from American history, specifically characters from the Iran-Contra affair, which my father ran the investigation of. But at the heart of it was a fictional character.
For one who reads, there is no limit to the number of lives that may be lived, for fiction, biography, and history offer an inexhaustible number of lives in many parts of the world, in all periods of time.
Irish fiction is full of secrets, guilty pasts, divided identities. It is no wonder that there is such a rich tradition of Gothic writing in a nation so haunted by history.
I have a rule: I will not alter the basic history of a real-life character to suit our fictional needs in a big way.
The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding, and then letting imagination build the structure that fills in those things we can never find out for sure.
