A Quote by Chang-Rae Lee
I don't think that stuff is gone - I just don't want to dwell on it. There's a difference. As I said, I think we all have tendencies as writers, and I think we all have experience that we bring as readers to each project.
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I think smart aggregation is a service to readers. And we do it, too ... . Whether it's a politics page and you want Dan Balz to tell you what is he reading, what does he think are the smartest articles today on the elections or the primaries. So, I think aggregation is great ... . So I'm all for aggregation. And the more eyeballs we can get to our content, the better. We do want readers to be educated and to understand the difference between, what is a source that you can trust as opposed to just rumors out there. And the difference between just repurposing content and not crediting it.
I think about the collaboration between writers and readers, but I also think about the collaboration between all the writers in a generation or in a country or across time contributing to this massive project of documenting and reimagining our world.
With my writing, I try to do stuff I have not done before. Each time I sit down, I want to have a new experience, and by extension, I want my readers to have a different experience.
I think that its easy to think of the environment as all doom and gloom and that, 'What can we do, it's too late. And the polar bears are gone, and everything is gone.' But really, just the little steps that we can make as individuals make a big difference.
I think our literary tradition has to evolve, has to explore its form and its spirit through writers and thinkers, rather than let the lazy, easy traditional narrative - which is controlled by the publishing industry - roll all over the readers and dominate the market. I think our readers and cinemagoers have been trained to read and watch very mainstream stuff. It's like being given sleeping pills. It sends people to a non-reflective sleep state.
The way I felt growing up, which was like an outcast - I was weird, I was a nerd, I read fantasy books - I think a lot of fantasy book readers and a lot of readers and writers in general have that experience of isolation.
I think that readers believe that a writer becomes friends with the people he interviews and writes about - and I think there are some writers who do that - but that hasn't happened to me. I do think it's dangerous because then you write the article to please them, which is a terrible error.
A lot of writers do think of their characters as living beings. I know that's the way people think. That's why I try to make them real in a certain way, because otherwise people won't read them. It's fine if some readers think of them as real. It's just not the way that I think of them.
I like to mix it up, yeah. I don't sort of think, 'Oh, I need to do a comedy, I've done three dramas this year.' I don't think of it like that, but I definitely from project to project I feel like I want to just do something different all of the time and stop, I don't want to bore myself or anyone else.
Ant & Dec have always nicked stuff off us. We met their writers, they said they just trawl our stuff and adapt it. The problem is they're a lot bigger than us, so people think we're copying them.
I think publishers need to be the ones that publish the books and control that process: finding writers, helping them with their work, finding readers. I think writers need that.
I think there are readers out there and I don't think the book is dead. And more importantly I don't think readers have to choose between literary and commercial fiction.
I want to be simple. I think that we try - and we think when we grow up - that we have the truth, because we experience and stuff. But that bullsh*t actually.
For two minutes a day, think of one positive experience that's occurred during the past 24 hours. Bullet point each detail you can remember. It works, because the brain can't tell the difference between visualization and actual experience. So you've just doubled the most meaningful experience in your brain.
Some readers sort of suspect that you have another book that you didn't publish that has even more information in it. I think that readers sort of want to be taught something. They have this idea that there's a takeaway from a novel rather than just the being there, which I think is the great, great pleasure of reading.
People are going to bash you. You get rejected. It's hard. I don't really feel like that's my place as the teacher. I think the most important thing is to figure out what they're trying to do and turn them onto writers who are doing similar stuff. I think that's something I can do more than anything else: get them to be big readers.
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