Go for broke. Always try and do too much. Dispense with safety nets. Take a deep breath before you begin talking. Aim for the stars. Keep grinning. Be bloody-minded. Argue with the world. And never forget that writing is as close as we get to keeping a hold on the thousand and one things--childhood, certainties, cities, doubts, dreams, instants, phrases, parents, loves--that go on slipping , like sand, through our fingers.
Books choose their authors; the act of creation is not entirely a rational and conscious one.
A book is a version of the world. If you do not like it, ignore it; or offer your own version in return.
Until you know who you are you can’t write.
When you write, you write out of your best self. Everything else drops away.
Whores and writers, Mahound. We are the people you can't forgive.
My horizon's have shrunk and I have only endings to write.
In the end, you write the book that grabs you by the throat and demands to be written.
The accidents of my life have given me the ability to make stories in which different parts of the world are brought together, sometimes harmoniously, sometimes in conflict, and sometimes both - usually both. The difficulty in these stories is that if you write about everywhere you can end up writing about nowhere.
Writers and politicians are natural rivals. Both groups try to make the world in their own images; they fight for the same territory.
All art began as sacred art, you know? I mean, all painting began as religious painting. All writing began as religious writing.
Matthew Wiener on Mad Men writes the entire series before they start shooting, and if you have that, then what you can do with character and story is not at all unlike what you can do in a novel.
What I found interesting writing a screenplay as opposed to writing a novel is not the obvious thing, which is having to pare everything down and find the kind of essence, the skeleton if you like, which can then be fleshed out by performance and cinematography.
I want to write novels. I want to write stories. I want to do the stuff that I became a writer to do.
I write books I'd enjoy reading, I'm the reader standing behind my shoulder.
Someone asked me if I was afraid to write my memoirs. I told him: 'We have to stop drawing up accounts of fear! We live in a society in which people are allowed to tell their story, and that is what I do.'
The field of the novel is very rich. If you're a composer, you're well aware of the history of composition, and you are trying to make your music part of that history. You're not ahistorical. In the same way, I think, if you write now, you are writing in the historical context of what the novel has been and what possibilities it has revealed.
When you're writing for the screen, you have to be hyper-conscious every moment of how the audience is going to react. If you write just one scene where the audience is confused or it breaks their concentration in some way, then you've lost them, and you might never get them back.
If you're going to write a memoir, try to be as honest and open as you can.
I'm a big-city boy. What I like is big cities. It's not just what I like. It's what I write about.
As a writer, one of the things we all learned from the movies was a kind of compression that didn't exist before people were used to watching films. For instance, if you wanted to write a flashback in a novel, you once had to really contextualize it a lot, to set it up. Now, readers know exactly what you're doing. Close-ups, too.
When I was writing The Satanic Verses, if you had asked me about the phenomenon that we all now know as radical Islam, I wouldn't have had much to say. As recently as the mid-1980s, it didn't seem to be a big deal.
When you're writing for the screen you're really thinking all the time of what you have to do to make sure that they have the information that they need, that the emotional thread is not snapped, that the story moves at the right speed, to keep the audience hopefully sitting on the edge of their seats or else weeping or laughing.
If you want to draw people into the story, you really have to write as if you're writing a novel and make these actually-existing people, including the actually-existing person with my name, into a believable person on the page. And that requires distance. That requires not being right up against the events you're talking about.
I've never yet managed to write a novel which didn't have an Indian central character.
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