In fiction workshops, we tend to focus on matters of verisimilitude largely because such issues are so much easier to talk about than the failure of imagination.
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I think fiction lends itself to messiness rather than the ideal, and plays well with the ironies surrounding what happens versus what should happen.
There are some subjects that can only be tackled in fiction.
Fiction is often most powerful when the author is exploring an issue - and not writing like a know-it-all who has the perfect answer.
I think that's what fiction writing is actually all about. It's about trying to solve problems in creative ways.
I think what a lot of fiction is, is the imagining of the worst so as to prepare ourselves.
There's a problem with narratives. Most that spring to mind are fictional.
I think anything goes in fiction as long as it fits within the interior logic of the work itself and is presented in a disciplined manner.
In New York and L.A., there is sort of that silent competition to be on the cutting edge of something. You end up having a conversation with how the world receives your work, especially if you are writing narrative, not fiction. Sometimes it is an awkward conversation. It's like group therapy.
In Ireland, novels and plays still have a strange force. The writing of fiction and the creation of theatrical images can affect life there more powerfully and stealthily than speeches, or even legislation. Imagined worlds can lodge deeply in the private sphere, dislodging much else, especially when the public sphere is fragile.
Fiction is the study of the human condition under imagined circumstances.
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