Attributed to an interview on Larry King Live; also quoted in Quotable Quotes (1997) edited by Deborah Deford
Attributed variant: The difference between fiction and reality is that fiction has to make sense.
Clancy here expresses an idea evoked in similar statements made by others, all derived from the orignial made by Lord Byron:
Lord Byron: Truth is always strange; stranger than fiction.
Mark Twain: Truth is stranger than fiction, but it is because fiction is obliged to stick to possibilities, truth isn't.
G. K. Chesterton: Truth must necessarily be stranger than fiction, for fiction is the creation of the human mind and therefore congenial to it.
Leo Rosten: Truth is stranger than fiction; fiction has to make sense. (attributed)
1990s
“The only difference between reality and fiction is that fiction needs to be credible.”
“The trouble with fiction… is that it makes too much sense. Reality never makes sense.”
"John Rivers" in The Genius and the Goddess (1955)
Source: The Genius And The Goddess
Interview with Weird Tales (24 May 2007) http://weirdtales.net/wordpress/2007/05/24/george-rr-martin-on-magic-vs-science/
Context: I think that for science fiction, fantasy, and even horror to some extent, the differences are skin-deep. I know there are elements in the field, particularly in science fiction, who feel that the differences are very profound, but I do not agree with that analysis. I think for me it is a matter of the furnishings. An elf or an alien may in some ways fulfill the same function, as a literary trope. It’s almost a matter of flavor. The ice cream can be chocolate or it can be strawberry, but it’s still ice cream. The real difference, to my mind, is between romantic fiction, which all these genres are a part of, and mimetic fiction, or naturalistic fiction.
“fiction always surpasses reality but reality is always richer than fiction.”
Source: Outlaws
“The difference between me and you is that I do good fiction.”
Jokingly to news reporters. Speech at the National Press Club (18 May 1999).
1990s
Games for Actors and non-Actors (1992)
Context: In truth the Theatre of the Oppressed has no end, because everything which happens in it must extend into life…. The Theatre of the Oppressed is located precisely on the frontier between fiction and reality – and this border must be crossed. If the show starts in fiction, its objective is to become integrated into reality, into life. Now in 1992, when so many certainties have become so many doubts, when so many dreams have withered on exposure to sunlight, and so many hopes have become as many deceptions – now that we are living through times and situations of great perplexity, full of doubts and uncertainties, now more than ever I believe it is time for a theatre which, at its best, will ask the right questions at the right times. Let us be democratic and ask our audiences to tell us their desires, and let us show them alternatives. Let us hope that one day – please, not too far in the future – we’ll be able to convince or force our governments, our leaders, to do the same; to ask their audiences – us – what they should do, so as to make this world a place to live and be happy in – yes, it is possible – rather than just a vast market in which we sell our goods and our souls. Let’s hope. Let’s work for it!
“Fiction reveals truth that reality obscures.”
“The future is there… looking back at us. Trying to make sense of the fiction we will have become.”
Source: Pattern Recognition
"Inner Landscape : Interview with J.G. Ballard" by Robert Lightfoot and David Pendleton, in Friends No. 17 (30 October 1970) http://www.jgballard.ca/media/1970_oct_friends_magazine.html; also quoted in The Columbia Dictionary of Quotations (1993) by Robert Andrews
Context: A hundred years ago one has the impression that people had made a clear distinction between the outer world of work and of agriculture, commerce and social relationships — which was real — and the inner world of their own minds, day-dreams and hopes. Fiction on the one hand; reality on the other. This reality which surrounded individuals, the writer's role of inventing a fiction that encapsulated various experiences going on in the real world and dramatising them in fictional form, worked. Now the whole situation has been reversed. The exterior landscapes of the seventies are almost entirely fictional ones created by advertising, mass merchandising… politics conducted as advertising. It is very difficult for the writer.
Given that external reality is a fiction, the writer's role is almost superfluous. He does not need to invent the fiction because it is already there.
