A Quote by Barry Unsworth
All my fiction starts from a feeling of unique perception, the pressure of a secret, a story that needs to be told.
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Plot is what happens in your story. Every story needs structure, just as every body needs a skeleton. It is how you 'flesh out and clothe' your structure that makes each story unique.
If you look at any Mumbai guy, he starts to handle pressure at a very young age. Starts at the school level, then the pressure from parents, from the coaches.
According to this law [the law of Dharma], you have a unique talent and a unique way of expressing it. There is something that you can do better than anyone else in the whole world--and for every unique talent and unique expression of that talent, there are also unique needs. When these needs are matched with the creative expression of your talent, that is the spark that creates affluence. Expressing your talents to fulfill needs creates unlimited wealth and abundance.
I'm just looking at whatever moment I'm at, trying to tell a story that at that time feels like it needs to be told, like I want to see it and how I'm feeling in my life.
A good scenario doesn't make a good science fiction story - but it's a setting within which a good science fiction story might be told.
The proper stuff of fiction' does not exist; everything is the proper stuff of fiction, every feeling, every thought; every quality of brain and spirit is drawn upon; no perception comes amiss.
I don't care whether the story is real or fantastical. I tell the story that needs to be told.
Writing fiction is not a profession that leaves one well-disposed toward reading fiction. One starts out loving books and stories, and then one becomes jaded and increasingly hard to please. I read less and less fiction these days, finding the buzz and the joy I used to get from fiction in ever stranger works of non-fiction, or poetry.
I thought I was going to write fiction but I fell backwards into non-fiction. It started when I got locked out of two apartments in one day and I told the story to some friends, one of whom worked in the 'Village Voice' and asked me to turn it into an essay.
I think every business, really, has a unique reason for being, unique assets, unique attributes, a unique history. And that can be turned into a very attractive design story, essentially, that consumers can relate to.
Tolstoy's definition of art is the inverse of the truth; the task of art is to transform not perception into feeling, but feeling into perception.
A secret needs two faces to bounce between; a secret needs to see itself in another pair of eyes.
My parents telling me that if there is a story you feel compelled to share, then you are responsible for doing that. You can't ask someone else to take on that story - or you can, but you have to deal with whatever the fallout is. If the story doesn't end up being told the way you originally heard it or that you feel it needs to be expressed, that's on you.
Every good story needs a complication. We learn this fiction-writing fundamental in courses and workshops, by reading a lot or, most painfully, through our own abandoned story drafts. After writing twenty pages about a harmonious family picnic, say, or a well-received rock concert, we discover that a story without a complication flounders, no matter how lovely the prose. A story needs a point of departure, a place from which the character can discover something, transform himself, realize a truth, reject a truth, right a wrong, make a mistake, come to terms.
If the pitch starts with a sob story, I'm out. If the pitch talks about personal issues, I'm out. If the pitch starts off with how big the market opportunity is, I'm out. If the pitch tells me what is unique about the product, how it can make a profit, and it's an area where I have expertise, I will read on.
I like pressure. Pressure doesn't make me crack. It's enabling. I eat pressure, and there might be times when I get a bad feeling in my gut that this might be too much, but you feel pressure when you're not doing something, you know?
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