Non Fiction Quotes

When you play a non-fiction character it is more responsibility than when you are playing a fiction character because that person lived, and you do want to pay respect to that.

A book is a story, even if it's non-fiction, and once I've read it, I have the story with me inside my head always.

I just think there's something in the non-fiction form that allows you to see things clearly, if you're patient.

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.

Many Americans have never owned a book. And others have never owned a non-fiction book. Providing them with a 300-page paperback would get them started, maybe. And even if it didn't, at least they'd own that one. So that's a serious problem.

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.

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.

The problem with fiction, it has to be plausible. That's not true with non-fiction.

I'm a reluctant writer of non-fiction, in part because I don't really feel qualified.

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 have two pairs of reading glasses. One pair is for reading fiction, the other for non-fiction. I've read the Bible twice wearing each pair, and it's the same.

I tend to read non-fiction.

The most deeply personal of my works are the non-fiction works, the autobiographical works, because there, I'm talking about myself very directly.

When I read any book, if it's really good I get lost in the writing whether it's fiction or non-fiction. I'm in the story not thinking about who wrote it.

I do, however, feel reasonably strongly the sense that the job of a piece of argumentative scholarly non-fiction is not the same as the job of a piece of fiction.

It's true that I don't rearrange that much in the fiction, but I feel if you change even one name or the order of one event then you have to call it fiction or you get all the credits of non-fiction without paying the price.

I like to think that one of things I've done with non-fiction since the very beginning is to find new ways of telling true stories.

When you're writing non-fiction, you go as far as you can go, and then ethically you have to stop. You can't go. You can't suppose. You can't imagine. And I think there's something in human nature that wants to finish the story.

I do read a lot, and I think in recent years the ratio between the amount of non-fiction and fiction has tipped quite considerably. I did read fiction as a teenager as well, mostly because I was forced to read fiction, of course, to go through high school.

I like writing non-fiction - and when you pick a [non-fiction] subject, it saves you the hassle of coming up with a plot.

My house is filled with books, most of which I have read, some of which I intend to eventually get to. I'm always reading at least one work of fiction and one work of non-fiction simultaneously. Whatever mood I'm in, there's always a book nearby to suit it.

I have to say that writing about my writing process is more daunting than writing non-fiction.

I love the opportunity to just let my imagination run riot! Non-fiction can be very restrictive.

To my mind, the prose in a non-fiction work that's going to endure has to be of the same quality as the prose in a work of fiction that endures.

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.

Without books we're a very uneducated society. Think of the places books have taken us, the people we've been introduced to (fiction or non-fiction) and how books have allowed us to broaden our vocabulary.

The one thing fiction and non-fiction writing have in common for me is that sense of trying to get the sentences to be minimal but at the same time be a little overfull - to encourage them to do a kind of poetic work.

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.

I'd be surprised if non-fiction writers hate to be interviewed. We all hate them, because there's really nothing to say except "Read the book." Right? At least with non-fiction, you can kind of convey some information, and people can decide for themselves whether they want more of that kind of information. But with a novel, what am I going to do?

I've always felt that no one understands why some books of non-fiction endure and some don't, because there's not much understanding among many non-fiction writers that the narrative is terribly important.

My non-fiction films are pretty much fiction, or at least close... It's all "movies" for me. I never have searched for a subject. They always just come along. They never come by way of decision-making. They just haunt me. I can't get rid of them. I did not invite them.

I make non-fiction partly because I'm not that good of a writer. My talent, if I have any, is in balancing, capturing and directing reality, rather than creating scenarios.

I'm very interested in film making. It's telling a story, fiction or non-fiction. I have been filmed quite a lot. Contrary to popular belief, filming isn't glamorous. It can be wearingly repetitious, as the same shot is taken over and over again.

There is, in my mind, no higher compliment to pay a non-fiction book than to say it reads like a novel.

In "The Myth of Sisyphus", his most important non-fiction work, Albert Camus suggested that if we believed what most people claim to be the purpose of life, we would feel compelled to commit suicide. If, however, we accept that life has no purpose we would be inclined to soldier on in a cussed, stoical manner like Sisyphus, endlessly pushing his rock up a hill only to see it roll down again.

I have no interest in non-fiction. I don't read it and don't watch it and don't write it, other than a little journalistic column.

My documentaries have always been very much constructed in the spirit of dominant cinema. From the time I started making non-fiction, I was mainly interested in designing and creating documentaries like fiction, so it was a natural evolution to try and embark on doing a dramatic narrative.

I use non-fiction work written by Whites in my research. It's indispensable. That wasn't the problem. I said that "The Wire" was a cliché! It's like my writing a series about Jewish life and casting all of the characters as inside traders.

In, 1950, at the age, 19 I dropped out of St. George William College in Montreal, as it then was, and sailed for England on the Franconia. Foolishly, no arrogantly, believing I could put Canada and its picayune problems behind me, never dreaming it would become the raw material of most of my fiction and non-fiction. Or that I would care so deeply about its surviving intact.

Writing fiction is not a profession that leaves one well-disposed toward reading fiction. One starts out loving books and stories, and then one becomes jaded and increasingly hard to please. I read less and less fiction these days, finding the buzz and the joy I used to get from fiction in ever stranger works of non-fiction, or poetry.

Fiction and non-fiction are only different techniques of story telling. For reasons I do not fully understand, fiction dances out of me. Non-fiction is wrenched out by the aching, broken world I wake up to every morning.

I don't write non-fiction because I get bored. Some of my writing is autobiographical, but not the way readers imagine. I use my memory of settings, events and people. I weave history into my stories, but my narratives are made up.

Read everything. Read fiction and non-fiction, read hot best sellers and the classics you never got around to in college.

Autobiographical writings, essays, interviews, various other things... All the non-fiction prose I wanted to keep, that was the idea behind this collected volume, which came out about few years ago. I didn't think of Winter Journal, for example, as an autobiography, or a memoir. What it is is a literary work, composed of autobiographical fragments, but trying to attain, I hope, the effect of music.

I don't think people are averse to thinking about things in a deep way, but we have limited time and opportunity to think about things in a deep way. I think that's why there is an appetite for non-fiction - it gives people the opportunity to reexamine ordinary experience and be smarter about it.

The idea of a flip book still really appeals to me. That idea of fiction and non-fiction.

Expand the definition of 'reading' to include non-fiction, humor, graphic novels, magazines, action adventure, and, yes, even websites. It's the pleasure of reading that counts; the focus will naturally broaden. A boy won't read shark books forever.

I came to fantasy fairly late. For some ten years, I had been happily writing fiction and non-fiction for adults. But I always loved fantasy, whether for adults or young people; and at that particular point in my life, I wanted to try it, to understand it, as part of the process of learning to be a writer. The results were beyond anything I could have foreseen. As I've said often and elsewhere, it was the most creative and liberating experience of my life.

I always say that writing non-fiction versus writing fiction is a bit like architecture versus abstract painting.

I'm always looking for context in which people tell stories. In "Fight Club" it's these support groups for dying people, and then in "Choke" it's 12-step recovery groups. In one novel it's artists' colonies, in another novel it's a diary form that submariners' wives typically keep so that when their husband comes back from serving on a submarine they have an accounting of their spouse's time. So I'm always looking for, number one, a non-fiction context - because you can tell a more outrageous story if you use a non-fiction form.