A Quote by Ashwin Sanghi

When I wrote 'The Rozabal Line,' I had no preconceived notions of what a commercial bestseller should be. I have always viewed 'The Rozabal Line' as my first love and probably my best work. The fact, however, is that it is my least read work.
'Rozabal' was theological while 'Chanakya' is political. Unlike 'Rozabal,' which was about research, the aim of 'Chanakya' is plot, plot, plot, which carries the character. The common DNA, of course, is history.
It is possible to combine a story line and plot line in the same work. Usually the storylines comes first, serving as a background to the plot line, but not always.
As a writer, you're always trying to say the best thing. You're always thinking about what's the best thing to say, and what's the hardest way to say it, and what's the best line? Sometimes the best line is the simplest line. Sometimes the best line is the line that evokes more feeling than actual wordsmithing.
My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way.... People mistake the character of line for the character of art. But it's really the position of line that's important, or the position of anything, any contrast, not the character of it.
I remember being a kid, and if you had to pee, well, you had to hold it until the commercial break. Then you rushed, and hopefully, if you're going to the kitchen for a snack, you'll be back before so you don't miss a line. If your sister sneezed or was talking over a line, there was no way of knowing what that line was or what the joke was.
I can't change the preconceived notions a reader brings to a work, but I can do my best to be aware of, address, and subvert tropes and expectations that readers may have as best I can and hope I don't screw it up too much.
It was early on in 1965 when I wrote some of my first poems. I sent a poem to 'Harper's' magazine because they paid a dollar a line. I had an eighteen-line poem, and just as I was putting it into the envelope, I stopped and decided to make it a thirty-six-line poem. It seemed like the poem came back the next day: no letter, nothing.
I never intended to become a commercial filmmaker in the first place. What I do requires time and experimentation. Commercial work is often not the best way to get the most innovative work, because it's about money and marketing. Although advertising is now embracing non-commercial people.
Any work that aspires, however humbly, to the condition of art should carry its justification in every line.
If I keep striving to put on the best quality show based on the values I have, I don't have to think "oh we're crossing the line" because the line is built in. We follow that and do the best quality work we can.
I believe that the road to pre-eminent success in any line of work is to make yourself master of that line of work.
Conspiracies fascinate me. When I visited the Rozabal shrine in Srinagar before writing my first book, I remember thinking that the person enshrined there was no ordinary mortal. History is rife with mysteries, and that visit ignited a fire to unveil some of them.
I don't really push myself upon people. I don't have that. When it meets and things fall in line, it's meant to happen. It's happened that way. I just try to do my best and do my work, and then it falls in line.
I'd love to have a shoe line, or a sunglasses line, or a purse line. Who am I kidding, I'd like to have an everything line!
Somebody once told me, ‘Manage the top line, and the bottom line will follow.’ What's the top line? It's things like, why are we doing this in the first place? What's our strategy? What are customers saying? How responsive are we? Do we have the best products and the best people? Those are the kind of questions you have to focus on.
I have no preconceived notions of what SBA programs work or not.
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