Commercial Fiction Quotes & Sayings

Every once in a while a messy character who manifests a REAL body emerges, for instance, Lisbeth Salander - and certainly commercial genre fiction is full of examples of real bodied sexual encounters or violence encounters - but for the most part, and particularly if you are a woman or minority author, your characters' bodies have to fit a kind of norm inside a narrow set of narrative pre-ordained and sanctioned scripts. — Lidia Yuknavitch

She was going to go home after this and sip red wine and stare at the wall, I could tell. She would wonder why she was doing this, struggling against commercial interests at a corporate hospital when all she wanted to do was help people, and in the morning, when she walked out of her beautiful home and unlocked her convertible, she would remember. — Max Berry

It was like a commercial for laundry detergent or tampons or a prescription medication with death listed as a possible side effect. — Carolyn Lee Adams

You know, you can be really quite subversive in popular fiction, which is capable of taking on big issues of politics, war, the rise and fall of commercial dynasties. — Robert Harris

With literary fiction, generally a film maker falls in love with a book. In commercial fiction, it's a producer or studio falling in love with a book they can make into a movie with worldwide appeal. — Robert Gottlieb

I never read detective novels. I started out in graduate school writing a more serious book. Right around that time I read 'The Day of the Jackal' and 'The Exorcist'. I hadn't read a lot of commercial fiction, and I liked them. — James Patterson

They knew where they were headed but they didn't know where they were going. Retina shrugged the thought. Roma complained about the possibility they were walking into a trap. After all, he was one of the scientists that decided Solstice's fate. Retina was adamant no one knew him. Lorenzo didn't care about anything much but reaching Zharfar after Retina surgically removed his Unicell Groper.
They were headed to Africa in what seemed a semi commercial private plane. Eight people including the pilots travelled. They weren't supposed to know any more particulars. But Lorenzo's watch placed the coordinates in both numbers and words. They were in West Africa, country Nigeria, state Osun, and township Isura. None of them had ever heard of it, the town, but they were there. And they had travelled for miles, over highly forested nonresidential areas and mountain peaks before they stopped.
Wherever they were going was greatly isolated, Roma thought. — Dew Platt

How would you like to star in your very own commercial?"
"I'd rather swim in battery acid. — Robin Benway

Most people surrendered fairy tale hopes in exchange for cookie cutter lives — Roy L. Pickering Jr.

On occasion he would think back to the fiercest passion it had been his pleasure to experience and reflect on what might have been. He would look upon the woman who occupied the opposite half of his bed and feel his life had not quite lived up to the promise of another day. These moments would be mercifully brief, or so he hoped. — Roy L. Pickering Jr.

It was almost as if she had willed him into existence, into standing before her at the precise moment she was willing to accommodate him, arriving not a minute too early or too late. — Roy L. Pickering Jr.

If it's commercial fiction that you want to write, it's story, story, story. You've got to get a story where if you tell it to somebody in a paragraph, they'll go, "Tell me more." And then when you start to write it, they continue to want to read more. And if you don't, it won't work. — James Patterson

Wells is teaching us to think. Burroughs and his lesser imitators are teaching us not to think. Of course, Burroughs is teaching us to wonder. The sense of wonder is in essence a religious state, blanketing out criticism. Wells was always a critic, even in his most wondrous and romantic tales.

And there, I believe, the two poles of modern fantasy stand defined. At one pole wait Wells and his honorable predecessors such as Swift; at the other, Burroughs and the commercial producers, such as Otis Adelbart Kline, and the weirdies, and horror merchants such as H.P. Lovecraft, and so all the way past Tolkien to today's non-stop fantasy worlders. Mary Shelley stands somewhere at the equator of this metaphor. — Brian W. Aldiss

I write literary, not commercial, fiction - or so I've been told by my publishers who are proud I write literary fiction but secretly wish I wrote commercial. — Tawni O'Dell

The blurring of fact and fiction has great commercial potential, which is bound to be corrupting in historical terms. — Antony Beevor

In general, fiction is divided into 'literary fiction' and 'commercial fiction.' Nobody can definitively say what separates one from the other, but that doesn't stop everybody (including me) from trying. Your book probably will be perceived as one or the other, and that will affect how it is read, packaged and marketed. — Nancy Kress

I love smart commercial fiction. Susan Isaacs, for example and the readers who interest me are, in the preponderance, women. I am one of them; I like the books they like. — Beth Gutcheon

... the primary trait of young adult literature is that the author's emphasis is on plot and character and not on his own brilliance. And because few people talk about whether a young adult work is commercial or literary; the two are still in sync, and everyone's benefitting. — Eliot Schrefer

There's two tiers of science fiction: the McDonalds sci-fi like Star Trek, where they have an adventure and solve it before the last commercial, and there are books that once you've read, you never look at the world the same way again. — David Gerrold

Of course, the fact that Dostoevsky can tell a juicy story isn't enough to make him great. If it were, Judith Krantz and John Grisham would be great fiction writers, and by any but the most commercial standards they're not even very good. — David Foster Wallace

Just like a butterfly, I had sprung from my cocoon for the first time. For my risk, I was rewarded with Jacob Bennett." - Laylla Jonson (Beneath the Blossom Tree) — L.B. Malpass

I think any reading is good reading, even if it's commercial fiction. A good story well told is worth the time — Lynn Cahoon

I think there are readers out there and I don't think the book is dead. And more importantly I don't think readers have to choose between literary and commercial fiction. — Jodi Picoult

I'm not writing great literature. I'm writing commercial fiction for people to enjoy the stories and to like the characters. — Kathy Reichs

I think the 'New York Times' reviews overall tend to overlook popular fiction, whether you're a man, woman, white, black, purple or pink. I think there are a lot of readers who would like to see reviews that belong in the range of commercial fiction. — Jodi Picoult

Sometimes I still feel that there are two of me: one clean, flawless picture, the other imperfect and cracked; one boy, one girl; one voice that speaks aloud and one that whispers in my ear; one publicly known to have been troubled but be on the mend, the other who has privately lost something to do with innocence and gained something to do with knowledge and adulthood that can never be undone. I feel sometimes there are things that tear me in two directions, that there are two sets of thoughts that grow side by side. But then I realize that I am whole, whatever that means and does not mean; I am complete without the need for additions or alteration. — Abigail Tarttelin

His fierce appreciation of female beauty, the unrelenting desire he felt for their company, the pleasure he both derived and sought to give, had led him in and out of quite a few bedroom doors. — Roy L. Pickering Jr.

And I realize I've been betrayed by the two vices that fiction promised me I'd adore. Sal Paradise held up bottles of booze like a housewife in a detergent commercial. Holden Caulfield reached for his cigarettes like an act of faith. Even Huckleberry Finn tapped on his pipe with relief and satisfaction. If sex turns out to be this bad, I'm never reading again. — Craig Silvey

...forever meant different things to people at different times. They could imagine what infinity looked and felt like as much as they wanted, but could never truly grasp its meaning nor bear its full weight. — Roy L. Pickering Jr.

It seemed to me that I could write commercial fiction. I wasn't sure whether I could, or whether I wanted to write serious fiction at that point. So I said, 'Let me try something else,' and I wrote a mystery - but I didn't know much about it. — James Patterson

Science fiction used to be a dangerous literature. Now, it is a very commercial genre, and whatever dangers might still lurk within seem to have been safely sanitized for the marketplace. The real crime is that the lobotomy has been self performed. I — Harlan Ellison

I've always felt that good writing does not have to be literary. — Sara Sheridan

I love the word 'fantasy' ... but I love it for the almost infinite room it gives an author to play: an infinite playroom, of a sort, in which the only boundaries are those of the imagination. I do not love it for the idea of commercial fantasy. Commercial fantasy, for good or for ill, tends to drag itself through already existing furrows, furrows dug by J. R. R. Tolkien or Robert E. Howard, leaving a world of stories behind it, excluding so much. There was so much fine fiction, fiction allowing free reign to the imagination of the author, beyond the shelves of genre. That was what we wanted to read. — Neil Gaiman

Perhaps all love stories no matter how varied are essentially the same. — Roy L. Pickering Jr.

Was happiness (which was perhaps achieved not by getting what you wanted, but rather, by obtaining what you didn't know you wished for until it was in hand) a hologram that would continually change appearance with the slightest shift of perspective? Or maybe happiness by definition was a temporary state of being recognizable only in hindsight. It was impossible to catch what always managed to be overrun and end up in the rear view mirror. — Roy L. Pickering Jr.

My nation, as all nations, is becoming a land without peace, without thought, without mind, Madam Abbess. We are suffocating our spirits in commercial and material things. This is not envy," said Mr. Konishi earnestly. "I am a rich man, with much business, so I have succeeded in all these things, but I know that they are empty. — Rumer Godden

How can even the idea of rebellion against corporate culture stay meaningful when Chrysler Inc. advertises trucks by invoking "The Dodge Rebellion"? How is one to be bona fide iconoclast when Burger King sells onion rings with "Sometimes You Gotta Break the Rules"? How can an Image-Fiction writer hope to make people more critical of televisual culture by parodying television as a self-serving commercial enterprise when Pepsi and Subaru and FedEx parodies of self-serving commercials are already doing big business? It's almost a history lesson: I'm starting to see just why turn-of-the-century Americans' biggest fear was of anarchist and anarchy. For if anarchy actually wins, if rulelessness become the rule, then protest and change become not just impossible but incoherent. It'd be like casting a ballot for Stalin: you are voting for an end to all voting. — David Foster Wallace

In commercial fiction especially, everything in the story usually contributes directly to the plot The shorter the story, the truer this is — Nancy Kress

The commercial work of today is the classics of tomorrow. — Orson Scott Card

I'm writing exactly the kinds of books I like to write. And they're the kinds of books I like to read. They're popular commercial fiction. That's what they are. — Joy Fielding

Some people read to be entertained, as an escape. Others read to be intellectually challenged. Again, both commercial and literary fiction can accomplish these things. Neither has a sole claim over these goals. But as a generalization, commercial fiction tends to focus on entertaining, while literary fiction is more likely to present a challenge. Literary novelists rarely seek to satisfy the reader but to discomfort them. — Jane Friedman

And although he recognized that tenderness was not the same as passion, and certainly not equivalent to love, for now it seemed to him a suitable substitute. — Roy L. Pickering Jr.

...the locale did not make him think of her, nor did most things. He felt no negativity about the time they had spent together, but simply did not dwell on it much. She had been a seat filler, memorable as the smiling face of a beautiful girl in the window of a passing train, inspiring a fleeting moment of joy and promise, immediately forgotten with the opening of that day's newspaper. — Roy L. Pickering Jr.

Actually, I'm frequently described as the UK's only translator of Korean literature, but even that isn't accurate - Agnita Tennant is UK-based, Janet Poole is British though lives in Toronto, Brother Anthony was born here though is now a naturalised Korean citizen. There's also Chi-young Kim and Sora Kim-Russell, who are younger and do fiction for commercial houses. — Deborah Smith

Once you break someone's heart, you are forever its master. — Roy L. Pickering Jr.

When life throws shit at you, grow great, big, fuck off roses. — Heather Hill

Screenwriting involves an often un-personal process. Co-writers, directors, producers, everyone has a say in what you put on a page, and stories are constantly changing according to budget, actors, and commercial needs. Films are a collaborative process and are also inherently narrative and structured, so you are always working within very tight parameters. Short fiction unleashes a more intimate voice and a passion for language. I believe short narratives can have the same amount of danger and drama as any action film. — Chiara Barzini

It's fair to say that white America wouldn't have elected an African-American president without the integrating effect of black music - from Louis Armstrong to hip-hop - and black drama and fiction, commercial as much as 'serious.' — Joe Haldeman

Life was a swirl of mysteries, each one waiting to be plucked up and explored, but not necessarily solved. As the weight of responsibility bore down on a person, it could feel like a long list of chores leading up to the final one - figuring out how to die with dignity. But Quincy's interpretation of his surroundings seemed a truer representation of life's meaning, or rather, the lack of meaning other than to dazzle and delight and befuddle from cradle to grave. — Roy L. Pickering Jr.

Nothing felt better to him than the act of waiting for her. As long as he believed it wasn't in vain, he was able to justify his presence. — Roy L. Pickering Jr.

Hi, I have just added my new novel, "Incessant Expectations" for your reading enjoyment. It is about commercial salmon fishing on the Oregon coast circa 1976. It is fiction. The industry doesn't exist anymore. A young farmer from the dry country in Southwestern Colorado visits the wet Northwestern Oregon coast, seeking a summer job after his dad's farm is sold in the spring. He has spent his first 22 years in isolation, doing hard labor on the family farm. He knows hard work but has little social experience. During his summer of 1976 he learns about the ocean, fishing, and women. — Kenneth Fenter

If Audrey sensed what he was contemplating, her silence did not let on. He turned from the window and found her looking at him with a flawless poker face. It may have been attentiveness and curiosity to hear what he would say next, or perhaps she was expecting from him what women throughout the ages, often against their better judgment, had expected of men. — Roy L. Pickering Jr.

For me, 'Bookends' marks the start of my foray into commercial fiction, away from what has always been thought of as more traditional chick lit - single girl in the city trips around in Manolos looking for Mr. Right. — Jane Green

There are no new plots, but there are plenty of fresh new characters with whom you can grab the reader. Characterization is the key to successful commercial fiction. Characterization starts with goal, motivation, and conflict. Character — Debra Dixon

Commercial jazz, soap opera, pulp fiction, comic strips, the movies set the images, mannerisms, standards, and aims of the urban masses. In one way or another, everyone is equal before these cultural machines; like technology itself, the mass media are nearly universal in their incidence and appeal. They are a kind of common denominator, a kind of scheme for pre-scheduled, mass emotions. — C. Wright Mills