I have to do more close research and fact checking for the science fiction. This is not however to say that writing good fantasy does not involve doing good research.
Fantastic fiction covers fantasy, horror and science fiction - and it doesn't get the attention it deserves from the literati.
Much historical fiction that centers on real people has always been deficient in information, lacking in craft and empty in affect.
If you ask people whether a computer can be smarter than a human, 99.9 percent will say that's science fiction. Actually, it's inevitable. It's guaranteed to happen.
I don't read a great deal of fiction, to my shame, other than the classics.
I never thought I could write fiction.
In a single lifetime, roughly from 1865 to 1930, one finds the pioneering and patterning works of modern fantasy, science fiction, children's literature and detective fiction, of modern adventure, mystery and romance.
I feel that there is not an endlessly expandable universe of fiction readers.
It's like how science fiction in the '50s was a way of talking about war without actually having to risk any political capital. The obvious metaphor is power and powerlessness, but I also think it's a way of experimenting with dangerous feelings in a safe arena and trying things out.
If you're writing something that's clearly labelled as an alternative history, of course it's perfectly legitimate to play with known historical characters and events, but less so when you're writing an essentially straight historical fiction.
When I started writing fiction, I knew how good it was immediately.
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.
People who are readers of fiction aren't particularly interested in comic books.
What 'Floating Worlds' does draw on is Holland's artistry in bringing the past to life in her historical fiction and depicting the people who inhabited that past.
I love science fiction stuff - I'm a bit of a dweeb like that.
I was a freelancer all through my twenties. I did about one story a month and I wanted to write fiction, so the stories that I would do were precursors to 'Sex and the City.'
I would love to work with Shilpa again. But it would have to be for 'Dill Mill Gayye (DMG)' - that's the only fiction show I'll take up on small screen. I'm extremely faithful to that show. That apart, I'm not likely to do anymore fiction on TV for the time being.
When I write my books, actually, I'm known for very logical rule-based magic systems. I write with one foot in fantasy and one foot in science fiction.
I've lost much of my heart and the spark or fire that once 'created,' or produced, the art of fiction.
I'm not well-versed in the science fiction world. I'm hoping that I'll get more opportunities in it because you get to create a new world.
It shouldn't be so difficult to determine what a planet is. When you're watching a science fiction show like 'Star Trek' and they show up at some object in space and turn on the viewfinder, the audience and the people in the show know immediately whether it's a planet or a star or a comet or an asteroid.
In 1982, when I was almost 26 years old, I decided I wanted to write fiction. I'd majored in journalism in college, and I'd always assumed I would write nonfiction.
My background is in filmmaking, and my mentor is Dusan Makavejev, who combined fiction and documentary.
Fiction novels, that's my game.
I wrote a lot of fiction, but it was just college stuff. It seems to me you have to be so confident in yourself to become a writer.
My main problem with fiction is that once my characters get moving, you just have to follow them along and get out of the way of the story, but sometimes they pull me in too many directions, and I need to focus.
There can be nothing more humiliating for a writer of fiction to have to do than restate a case that has already been made.
I think it's also safe to say genre TV and movies were a big influence - the first stories I ever tried to write were Godzilla fan fiction when I was in elementary school, complete with elaborate maps of Monster Island made with multiple sheets of typing paper and nearly six feet wide. I kind of wish I still had those.
I think what a lot of fiction is, is the imagining of the worst so as to prepare ourselves.
I don't know what issues concerning identity have helped contemporary fiction evolve to what it is now. All I know is that the range of voices that are being heard and published is a lot more diverse than when I was coming up.
The general public still thinks that science fiction has nothing to do with their day-to-day lives.
Writing for theatre is certainly different to writing an essay or any other kind of fiction or prose: it's physical. You're also telling a story, but sometimes the story isn't exactly what you intend; maybe you uncover something you had no idea you were going to uncover.
Most crime fiction plots are not ambitious enough for me. I want something really labyrinthine with clues and puzzles that will reward careful attention.
I had a 2-week courtship with a fellow student in the fiction workshop in Iowa and a 5-minute wedding in a lawyer's office above the coffee shop where we'd been having lunch that day. And so I sent a cable to my father saying, 'By the time you get this, Daddy, I'll already be Mrs. Blaise!'
Crime fiction is the fiction of social history. Societies get the crimes they deserve.
NI love watching science fiction because I feel like when it's done well, it's not just monsters, but philosophy. Really good science fiction like, '2001,' for example, or the first 'Matrix.' But it takes someone who's got a brain and thinks in order to do really good science fiction.
