Quotes & Sayings About Fictional Books

If one were to reply that those who compose these books write them as fictions, and therefore are not obliged to consider the fine points of truth, I should respond that the more truthful the fiction, the better it is, and the more probable and possible, the more pleasing. Fictional tales must engage the minds of those who read them, and by restraining exaggeration and moderating impossibility, they enthrall the spirit and thereby astonish, captivate, delight, and entertain, allowing wonder and joy to move together at the same pace; none of these things can be accomplished by fleeing verisimilitude and mimesis, which together constitute perfection in writing. — Miguel De Cervantes Saavedra

I mentioned early in this book the kind of rereading distinctive of a fan
the Tolkien addict, say, or the devotee of Jane Austen or Trollope or the Harry Potter books. The return to such books is often motivated by a desire to dwell for a time in a self-contained fictional universe, with its own boundaries and its own rules. (It is a moot question whether Austen and Trollope's first readers were drawn to their novels for these reasons, but their readers today often are.) Such rereading is not purely a matter of escapism, even though that is one reason for its attraction: we should note that it's not what readers are escaping from but that they are escaping into that counts most. Most of us do not find fictional worlds appealing because we find our own lives despicable, though censorious people often make that assumption. Auden once wrote that "there must always be ... escape-art, for man needs escape as he needs food and deep sleep." The sleeper does not disdain consciousness. — Alan Jacobs

I spent much of my prison time reading. I must have read over 200 large books, mostly fictional stories about the American pioneers, the Vikings, Mafia, etc. As long as I was engrossed in a book, I was not in prison. Reading was my escape. — Frazier Glenn Miller

Reading was not an escape for her, any more than it is for me. It was an aspect of direct experience. She distinguished, of course, between the fictional world and the real one, in which she had to prepare dinners and so on. Still, for us, the fictional world was an extension of the real, and in no way a substitute for it, or refuge from it. Any more than sleeping is a substitute for waking. (Jincy Willett) — Jincy Willett

Libraries are sanctuaries from the world and command centers onto it: here in the quiet rooms are the lives of Crazy Horse and Aung San Suu Kyi, the Hundred Years' War and the Opium Wars and the Dirty War, the ideas of Simone Weil and Lao-Tzu, information on building your sailboat or dissolving your marriage, fictional worlds and books to equip the reader to reenter the real world. They are, ideally, places where nothing happens and where everything that has happened is stored up to be remembered and relived, the place where the world is folded up into boxes of paper. Every book is a door that opens onto another world, which might be the magic that all those children's books were alluding to, and a library is a Milky Way of worlds. — Rebecca Solnit

Clearly, in an infinite universe every possibility must exist, including Balzac's. Imagining Cousin Bette called her into beaing, although only potentially. The universe is merely a quantity of information; imagining a fictional character does not add to that quantity
it cannot do so by definition
but does reorganize it slightly. The Bette-ish universe has not material existence, but the initial idea in Balzac's brandy-soaked brain then spreads outwards: not only to those who read his books, but also, by implication, backwards and forwards. Imagining Cousin Bette also creates, in potential, her ancestors and descendants, friends, enemies, acquaintances, her thoughts and actions and those of everybody else in her universe. — Iain Pears

Joey glanced at his alarm clock and saw it was just before midnight. His eyes drifted to his bookshelf. Lined up in a row, in the order of their publication, were all of the Spook Boys books, a series of kids' books about two adventurous brothers who were constantly getting into mischief as they explored haunted houses and spooky old castles, or tried to solve mysteries involving missing diamonds or stolen paintings. Joey envied the characters in those books - he wanted his own life to be made up of such exciting, implausible adventures. But maybe his imagination had gotten carried away. Maybe his mind, saturated with such fictional tales, was more than willing to play tricks on him when it came to houses like the one on Creep Street. — The Blood Brothers

Sometimes people who look different from you are scary. Maybe they are ugly. Maybe they are loud. Maybe they
are big. Maybe they are green. Maybe they are all those things. But you should not be afraid of them just because of how they look. You may find they are nice to you if you are
nice to them. — Jeff Hutchins

A good novel, one which entices the author as much as it beckons the reader. — W.J. Raymond

There are a number of things that I'm trying to get into the books. There's a meta-fictional aspect, if I may use that pretentious word, to writing anything. You're writing in the shadow of all the people that have gone before and, in a way, you're having a dialogue with them. As someone who's read J.R. Tolkien and Robert E. Howard and all the great fantasists before, this is almost my answer to them. — George R R Martin

technically, her last disaster hadn't been her fault she knew another accident would get her fired. Her brief was to be invisible, and she considered herself perfectly qualified for the job. In a world where extroverts were celebrated, she was an introvert. She'd spent most of her life blending into the background. First in the playground, where she'd hidden away in books written by other people, and then at college, when she'd hidden in the books she'd written herself. Lost in her own fictional world, she became each and every one of her heroines and endowed them with qualities she herself coveted, namely courage, communication skills and coordination. Her current creation was Lara Striker, small-town girl finally returning home and trying to live down her badgirl reputation. Matilda stared through the crowd, her mind — Sarah Morgan

If you ever meet someone who thinks they are so special, the best thing to do is smile. You don't have to say anything. Be friendly and then go do
your best. That will make you special, too! — Jeff Hutchins

The biggest fatal flaw in most fictional portrayals of nanotech - what sends those books arcing across the room - is ignoring that the nanobots need energy to do ... anything. — Edward M. Lerner

My shows and books are an instant mood adjuster. They're my drugs of choice. And the fictional characters I love are like my friends. — Susane Colasanti

I wrote and drew my own books on notebook paper, and I'd staple 'em together. I had my own fictional company, and we had our own thinly veiled offshoots of whatever was popular at Marvel and DC at the time. — Jason Aaron

Hundreds of thousands of people live in my library. Some are real, others are fictional. The real ones are the so-called imaginary characters in works of literature, the fictional ones are their authors. We know everything about the former, or at least as much as we are meant to know, everything that is written about a given character in a novel, a story or a poem in which she or he figures ... The rest doesn't matter. Nothing is hidden from us. For us, a novel's characters are real. (p. 80 — Jacques Bonnet

I think TV is a medium where you can be entertained, you can be informed, you can relax and you can escape whenever you want. There's no other media, exception for fictional books, where you can do that. But additional to books you also have the picture, it's not only the text and that's the reason why, in terms of getting to the heart of the people, getting to the emotions of people, TV is the ideal media to get them. There is no other media who can do that. — Gerhard Zeiler

Respect can be as elusive as the unicorn. I know something of this because I write books that are set in the Middle Ages, and the historical novel is often seen as the unwanted stepchild in the fictional family. I know even more about respect - or the lack thereof - because I live in New Jersey. — Sharon Kay Penman

I shake my head. "Not my kind of scene. I'd rather be home with my book boyfriend."
"I'll never get what you book sluts get out of a fictional man ... " He shakes his head.
"Boys in books are better. — Danielle Torella

Eliot was scornful of idle women readers who imagined themselves the heroines of French novels, and of self-regarding folk who saw themselves in the most admirable character in a novel, and she hoped for more nuanced engagement from her own readers. Even so, all readers make books over in their own image, and according to their own experience. — Rebecca Mead

Perhaps this is what Henry James meant when he talked about the "irresponsibility" of characters. Characters are irresponsible, art is irresponsible when compared to life, because it is first and foremost important that a character be real, and as readers or watchers we tend to applaud any effort made towards the construction of that reality. We do not, of course, indulge actual people in the world this way at all. In real life, the fact that something seems real to someone is not enough to interest us, or to convince us that that reality is interesting. But the self-reality of fictional characters is deeply engrossing, which is why villains are lovable in literature in ways that they are not in life. — James Wood

Once I had opened a book and read its pages, those characters could never be taken away from me. Even if the books were burned, they would still live on in my mind. — Jennifer Wilson

Magic happens when the wand of language strikes a stone and makes it melt, touches a spindle and turns it into gold, or taps a trunk and makes it fly. By drawing on a syntax of enchantment that conjures fluidity, ethereality, flimsiness, and transparency, writers turn solidity into resplendent airy lightness to produce miracles of linguistic transubstantiation.

What is the effect of that beauty? How do readers respond to words that create that beauty? In a world that has discredited that particular attribute and banished it from high art, beauty has nonetheless held on to its enlivening power in children's books. It draws readers in, then draws them to understand the fictional worlds it lights up. — Maria Tatar

To achieve lasting literature, fictional or factual, a writer needs perceptive vision, absorptive capacity, and creative strength. — Lawrence Clark Powell

They were ... no ordinary group, gathering together to kill an evening, to seek refuge from critical husbands and demanding children while idly discussing their new best-seller. They met because literature was their shared passion. Books were as important to them as breath itself. They shared the ability to immerse themselves in the lives of fictional characters, to argue passionately about the development of plots, about decisions taken, dilemmas resolved. — Gloria Goldreich

Yet the experience of reading a novel has certain qualities that remind us of the traditional apprehension of mythology. It can be seen as a form of meditation. Readers have to live with a novel for days or even weeks. It projects them into another world, parallel to but apart from their ordinary lives. They know perfectly well that this fictional realm is not 'real' and yet while they are reading it becomes compelling. A powerful novel becomes part of the backdrop of our lives, long after we have laid the book aside. — Karen Armstrong

The best boyfriends are the ones in books. — Leah Blundell

Oh god, Anabeth," Ellie muttered. "Your whole life is based around sex." "So?" she shot back. "It's better than having sex with fictional characters!" Ellie shot up out of my desk chair. "I do not have sex with fictional characters!" "Oh puh-lease, I've seen the books you read, all big muscley men and virginal women and steamy sex. Why else would you read that crap if not to get off? — Madeline Sheehan

Films and television and even comic books are churning out vast quantities of fictional narratives, and the public continues to swallow them up with great passion. That is because human beings need stories. — Paul Auster

History is made not simply with events, but by remembering those events, a double drumbeat like a heartbeat. History can be written not only with books but with ceremonies. Yet a real event read about in a newspaper is not always more important than a fictional one in a novel or play or poem. — Christopher Bram

It is the glory of London that it is always ending and beginning anew, and that a visitor, with a good eye and indefatigable feet, will find in her travels all the Londons she has ever met in the pages of books, one atop the other, like the strata of the Earth. — Anna Quindlen

Look, Mr. uh, Wulf I appreciate your trying to warn me about this, Ireally do. But there's no such thing as vampires. They're made-up. We writers made them up. I'm sorry we did such a good job that we made the whole world paranoid, but it's true. They're fictional. Blame Bram Stoker. He started it. — Meg Cabot

Star Wars was a total piece of shit that had spawned billions of dollars in merchandise and sequels and books and games and pajama bottoms. It was an infinite reservoir, it was an endless void. It was responsible for a cornucopia of made up words like Jedi, the Force and lightsaber.

A lightsaber was a sword made of light. A sword was a weapon used to murder people.

A Jedi was a knight who believed in an idea of relative good and performed supernatural feats using the Force. A Jedi used supernatural feats and his lightsaber to murder people with opposing ideas of relative good.

The Force was an ill-explained mystical energy which ran throughout the fictional universe of Star Wars. It was a device which allowed characters to perform supernatural feats whenever a lull was created by poor writing in the screenplay.

As might be imagined, the Force was used with great frequency. — Jarett Kobek