Like the sand and the oyster, it's a creative irritant. In each poem, I'm trying to reveal a truth, so it can't have a fictional beginning.

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

When we talk about dystopias, especially in young adult fiction, a lot of them are essentially science fictional futures. They aren't necessarily tied to the traditional concept of dystopia. And so in that space, my impression is that kids love reading about weird, wild, adventurous places, and dystopia fits that bill.

I love to have real people of history interact with my fictional characters. History gives me the plot. I research the period meticulously, and then I blend in a romantic and sensual love story to give it balance. The heavier the history, the more romantic the couple must be.

We are talking about someone who has lived. It must be honored in every respect. The fictional can take any kind of channel - according to the actor's marriage to the character.

There's basically an element of fiction in everything you remember. Imagination and memory are almost the same brain processes. When I write fiction, I know that I'm using a bunch of lies that I've made up to create some form of truth. When I write a memoir, I'm using true elements to create something that will always be somehow fictionalized.

As with real families, my fictional family on 'Life Goes On' had its ups and downs, and as part of the fictional downers, the actors were often called to cry on cue. This absolutely terrified me, because I was a pretty happy kid who didn't have much to cry about.

A fictionalised memoir of my father would be a failure as a novel.

I suppose all fictional characters, especially in adventure or heroic fiction, at the end of the day are our dreams about ourselves. And sometimes they can be really revealing.

'Bellyache' is totally fictional. I like writing about things that aren't real. The song is about not trusting anyone and then putting trust in yourself and realizing that you don't know what you are doing, either. Or realizing that things you do with a group of people that you think are cool in the moment are ultimately all on you.

'A Tuna Christmas' is the second in a series of plays created by Joe Sears and Jaston Williams featuring the fictional town of Greater Tuna, the third-smallest town in Texas. What makes these plays so hysterically funny is the accurate portrayal of small-town life in the Lone Star State.

I didn't even know what a beauty editor was. It sounds like a fictional job if you think about it. You get to test lipstick and perfume and nail polish legitimately and call it work.

The fictionally correct have all the answers, and that's what's wrong with them. They're artistic technocrats. There's no dilemma so knotty, no question so baffling, that it can't be smoothly neutralized by dialing up the right attitude adjustment. Poor old Hemingway. If only he'd known.

In 'Hope Never Dies', the fictional Obama and Biden go up against drug traffickers, outlaw bikers, and other seedy opponents. They're forced to use skills they didn't know they had. Or, to put it another way, unlike Jordan Peele's Obama, this Obama doesn't need an anger translator.

You define a person's character through observation in their actions, features, and traits for whom they have become. Assumptions are NOT facts, and you need to make an effort and get the truth before judging a person's character. If you don't, your perspective will be all wrong with fictional characters far from the truth in someone's else reality.

Fictional characters also evolve, the way human being do in real life.

The urge to create a fictional narrative is a mysterious one, and when an idea comes, the writer's sense of what a story wants to be is only vaguely visible through the penumbra of Inspirational.

If you will practice being fictional for a while, you will understand that fictional characters are sometimes more real than people with bodies and heartbeats.

And it means snapshots, because that's what all stories I write come down to; each is a snapshot of who I was during however many days and weeks it was written. A fictional reflection of my mind fossilized, set in paper and ink, instead of stone. Memorialized, for better or worse. This is who I was, and this, and this, and this, and that, and most times I look back and wince. I'm rarely kind to who I was. But other times, looking back is bittersweet. Sometimes, I'm even grateful to the me of then who left a snapshot for the me of now. Maybe I should let go and join those who pretend the past is past, but it's a falsehood I've never learned to spin.

"The gift of fiction allows us to soar beyond the obstacles of life. It grants us the opportunity to experience worlds, characters and adventures that our mortal restrictions can bind us from seeking out. We all need to be our own heroes, sometimes we need a little Inspirational from the fictional ones to recognize most limitations are self-imposed.

To achieve lasting literature fictional or factual a writer needs perceptive vision absorptive capacity and creative strength.

As a child I read science fiction but from the very beginnings of my reading for pleasure I read a lot of non-fictional history particularly historical biography.

We are talking about someone who has lived. It must be honored in every respect. The fictional can take any kind of channel - according to the actor's marriage to the character.

Well the thing about great fictional characters from literature and the reason that they're constantly turned into characters in movies is that they completely speak to what makes people human.