Nonfiction requires enormous discipline. You construct the terms of your story, and then you stick to them.
Nonfiction is more personal for me. It's more personal in that it's more direct, and actually it's always been more direct, even when I first started doing pieces.
It makes more sense to write one big book - a novel or nonfiction narrative - than to write many stories or essays. Into a long, ambitious project you can fit or pour all you possess and learn.
It's hard to do fiction and nonfiction simultaneously.
Every time I get through the work on a book of nonfiction, I say I'll never do it again; it takes so much out of you.
I could talk more directly in a nonfiction voice than I could in fiction.
If you wrote about sex the way Jim [Salter] writes about sex in nonfiction, you would be a sociopath.
I don't think the potential for comics in nonfiction has been exploited nearly as much as it could be.
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
In Bosnian, there's no distinction in literature between fiction and nonfiction; there's no word describing that.
I read a lot of nonfiction - especially books about the brain.
I've always considered myself a nonfiction artist.
But I don't read a lot of fiction. I prefer the nonfiction stuff.
I contend that in the kind of nonfiction I write, and that other people also pursue, anything is permissible provided the reader knows what you're taking liberties with.
A great read; an exciting, frightening account of organized crime today. But like all important works of nonfiction, it goes further… This book is must reading for anyone with an interest in the enduring effects of the Vietnam War, the subject of crime in our streets, and the issue of personal responsibility in a harsh, chaotic world.
My entire career, in fiction or nonfiction, I have reported and written about people who are not like me.
Please, no matter how we advance technologically, please don't abandon the book. There is nothing in our material world more beautiful than the book.
Inexperienced fiction and creative nonfiction writers are often told to show, not tell - to write scenes, dramatize, cut exposition, cut summary - but it can be misguided advice. Good prose almost always requires both showing and telling, scenes and summary, the two basic components of creative prose
If you go through any newspaper or magazine and look for active, kicking verbs in the sentences, you will realize that this lack of well used verbs is the main trouble with modern English writing. Almost all nonfiction nowadays is written in a sort of pale, colorless sauce of passives and infinitives, motionless and flat as paper.
I don't read that many novels, I'm more of a nonfiction fan.
A typical biography relying upon individuals' notorious memories and the anecdotes they've invented contains a high degree of fiction, yet is considered 'nonfiction.'
I think I can safely call 2012 average. Overall, it was a stronger year for nonfiction than fiction - a situation that would've surprised me back in January, when I was looking forward to big new novels from several authors I really love.
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.
I'm all about nonfiction. I rarely read fiction. I like to read about things that really happened, facts, real life situations. That's what inspires me.
When I wrote nonfiction, my best work was the really personal stuff.
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