Top 258 Quotes & Sayings by Irvine Welsh
Explore popular quotes and sayings by a Scottish novelist Irvine Welsh.
Last updated on December 25, 2024.
I didn't have any concept of Trainspotting being published. It was a selfish act. I did it for myself.
Rebellion is always going to fascinate, as it's always packaged in a very safe way.
You know what it's like: you don't want to read your old books again. All you can see are the flaws, what you would do differently.
If you're going to do something that's going to cause offence to people, you're always going to get a reaction.
I think young writers should get other degrees first, social sciences, arts degrees or even business degrees. What you learn is research skills, a necessity because a lot of writing is about trying to find information.
I enjoy the freedom of the blank page.
It's very hard to transgress; we have the furniture of transgression without the imagery and iconography to actually do it.
I just want to get on and tell stories.
Writing is about culture and should be about everything. That's what makes it what it is.
When I'm not writing, I read loads of fiction, but I've been writing quite constantly lately so I've been reading a lot of nonfiction - philosophy, religion, science, history, social or cultural studies.
I tend to read more nonfiction, really, because when I'm writing I don't like to read other fiction.
Historically, men have a hard time getting onboard with feminism, but I think that's changing.
I'm working on a screenplay right now for the BBC, but I hope to have the decks cleared soon so I can get into the studio with my pals and put down some more tracks, try to get a strong dance single together.
Standard English is very imperialistic, controlled, and precise; it's not got a lot of funk or soul to it.
It's different in Scotland. People who come to readings are more interested in literature as such, but the readership in general is really quite diverse. It's a cliche, but it's said that people who read my books don't read any other books, and you do get that element.
I just love the weather. I live on Miami Beach, which is all boutique hotels and cocktails. I do sometimes go along to smart parties in my white suit, but I wouldn't really recognise any famous people if they were there because I'm not very good at star-spotting.
It was around the summer of 1982 when the drug problem really impacted. It became a lifestyle rather than a recreation. When you start lying and stealing, you cannot con yourself you're in control any more.
The first job of a writer is to be honest.
I left Edinburgh to follow the London punk scene in 1978, singing and playing guitar in various bands. My income was sporadic, so I did anything to eke out some kind of subsistence - laying down slabs, working as a kitchen porter.
We have to give feminism a shot. Out of sheer self preservation, we have to stand aside and let women run the show.
I spend so much time on the screen when I am writing, the last thing you want to do is spend more time on the Internet looking at a screen. That's what I hate about all this technology.
The idea is not enough. And the most annoying thing for me as a writer is that people will come up to me and say, 'Hey, I've got a great idea for a book. I'm not a writer, but I've got a great story.'
I don't want everything to be flowery perfection. I like it there to be a charge behind it, you know?
I created something that became a phenomenon without becoming a prisoner to it.
When people write a novel, they want to have that reach and that impact. To get it with a first novel, you can either see it as an albatross or a calling card.
What worries me is the professionalism of everything.
Basically, particularly in Britain, it's a hegemonic thing that people who write tend to come from the leisure classes. They can afford the time and the books.
There's all this stuff that is happening in Edinburgh now, it's a sad attempt to create an Edinburgh society, similar to a London society, a highbrow literature celebrity society.
When I started off with Trainspotting, it was the way the characters came to me. That's how they sounded to me. It seemed pretentious to sound any other way. I wasn't making any kind of political statement.
It's very difficult to be objective about yourself and your own circumstances, but one thing I do know about is that I grew up surrounded by storytellers.
Boxing gives you such a good workout, although I've stopped sparring. When your hand speed goes, you're going to get caught, and you can't afford to take cumulative smacks on the chops when you're a writer.
Middle-class people worry a lot about money. They worry a lot about job security, and they do a lot of nine-to-five stuff.
Sometimes there's a snobbery among literary types that these people don't really get it, but in a lot of ways they get it more than the literati. There's a culture in the background that they understand and know. They get that deeper level.
There is a kind of mysticism to writing.
Every kind of book I've written has been written in a different way. There has not been any set time for writing, any set way, I haven't re-invented the process every time but I almost have.
When I left school at 16, I became an apprentice television and radio technician, and was paid £17 a week, which was decent money in 1976. But the job turned sour when I gave myself an electric shock while repairing a television set.
I feel like I've exhausted guys and male friendships.
I wanted to capture the excitement of house music, almost like a four-four beat, and the best way to do that was to use a language that was rhythmic and performative.
It's that kind of thing that readers have. I have it as a reader myself: that expectation that the writer will be that person. Then I meet other writers and realize that they're not.
I'd always liked to read, but when I picked up books I wasn't getting the same kind of excitement from them that I was from going out clubbing. I wanted to get the same kind of feel.
I'm the worst employee in the world. I'll cheat and steal time and resources from my employer, although I'll con everybody into believing I'm essential to the operation.
Everybody in my family were great storytellers. My dad and his brothers would just go on and on; they could tell amazing stories. I think it was something to do with the Celtic, oral storytelling tradition. People very much had that propensity towards telling tales.
I'm the worst employer I could wish for because I push myself hard.
I think the silences we have on some issues are inductive of the fact that we need to write about them more, but I think there are some issues you have to write in a sensitive way and in a way that respects the reality of the situation. If you can't do that, you should leave them alone.
It's where you come from that's the strange, exotic, quirky, mad place.
That's the kind of consumer society we live in. We're always looking for the next product that's going to change your life instead of just going out and changing your life.
When people start writing there is this idea that you have to get everything right first time, every sentence has to be perfect, every paragraph has to be perfect, every chapter has to be perfect, but what you're doing is not any kind of public show, until you're ready for it.
The establishment, the newspapers, they try to create something called Scottish literature, but when people are actually going to write, they are not going to necessarily prescribe to that, they'll write what they feel.
It's like nothing's really happening. Our culture is almost dead.
You're on your own with the book. And while you are writing fiction, you're spending all this time with people who don't actually exist, which is just madness.
'Ulysses' is like a big box of tricks that you can dive into. Each time you read it, you find something new.
I'm always watching people over a short time frame, putting them in an extreme position. Sometimes you don't see the humanity in a person because the time frame is so short and the circumstance so extreme.
We want to feel hyper-alive, and it's like, the more cartoonish and grotesque the level we can operate at, the better. It's like the world we live in has become quite safe in a lot of ways, and it has become harder to genuinely transgress. But the desire to transgress is a real feeling.
When I first started to get into writing, it was via music. I'd generate ideas for songs that would turn into stories, then they'd turn into novels. I was biased toward music.
Sometimes a book influences me because it winds me up. There'll be something that gets under my skin and makes me think that I can do better.
When you grow up in a place, you always think it's mundane. Then you travel around and live in different places, and you realise that you've got it the wrong way 'round.
Words should have the power to inform and to move, not the power to send people scurrying away. But if you attach that much emotional energy to a word, it gives people the power to hurt each other.
I tried to write 'Trainspotting' in standard English, but people weren't talking like that.
I grew up in a place where everybody was a storyteller, but nobody wrote. It was that kind of Celtic, storytelling tradition: everybody would have a story at the pub or at parties, even at the clubs and raves.
I know when I go and see a writer, the first thing I think to myself is, 'Are they the character in the book?' You just can't help it; it's the way people are.
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