A Quote by David Nicholls

At university, I used to write silly little sketches and monologues, but never fiction. — © David Nicholls
At university, I used to write silly little sketches and monologues, but never fiction.
I never did improv professionally, but that was certainly in my training as an actor. I like it. Actually, when I did theater, I used to have a partner, and that was the way we used to write a lot of our sketches, through improvisation. So it's something I feel comfortable with.
I used to write fiction, non-fiction, fiction, non-fiction and have a clear pattern because I'd need a break from one style when going into the next book.
I used to write sketches. I loved David Letterman in the '80s. I used to write Top 10 lists for him, and I faxed them in anonymously. I'm sure they threw them away.
I always wanted to write, even before I realized that there was a comedy writers' world, or what that life was like. I never thought of myself, at least as a little kid, in terms of being the onscreen talent. I always thought it'd be so much fun to write sketches and be a writer. Even as little as 6 or 7, that's what my main interest was.
I always have these little internal monologues. You'll get used to them.
I wrote my first song when I was six or seven, a silly little song. But I used to write poems in high school - not songs.
He was not such a special person. He loved to read very much, and also to write. He was a poet, and he exhibited me many of his poems. I remember many of them. They were silly, you could say, and about love. He was always in his room writing those things, and never with people. I used to tell him, What good is all that love doing on paper? I said, Let love write on you for a little. But he was so stubborn. Or perhaps he was only timid.
I started writing sketches when I was 13. I liked Vic Reeves, Fry and Laurie, and Paul Merton, and I thought you could just send sketches to the BBC, and they'd go, 'Great. We'll put these on telly.' But I gradually realised that you either had to go to university and join a club, or do standup.
My brother Trev went to the Professional Performing Arts School in New York, and he used to do his monologues and stuff and rehearse in our apartment. So I used to hear him all the time doing these things over and over and over. And when I was a little girl, I used to soak up everything - like anything anyone did, I soaked it up.
When I began to write, I was surprised at how little London had been used in crime fiction. Places such as Edinburgh or Oxford or L.A. seemed to have stronger identities.
Fiction is lies; we're writing about people who never existed and events that never happened when we write fiction, whether its science fiction or fantasy or western mystery stories or so-called literary stories. All those things are essentially untrue. But it has to have a truth at the core of it.
Why is it okay to write a work of literary fiction where horrible, explicit things happen, where you can't write a book of humor where silly, explicit things are happening?
I used to do little sketches into my cassette tape recorder when I was a little boy. I would just turn it on and just start doing voices and characters. I just loved it.
I'm not sure about that role any longer. The role used to be to mix things up and I think to a great extent it still is, but the quality of the work of the political cartoon has been succeeded by the wisecrack, the gag cartoon, so that the cartoonist becomes more of the equivalent of the Jay Leno monologues, or David Letterman monologues.
I write non-fiction quicker, and I write it on a computer. Fiction I write longhand, and that helps make it clear that it comes from a slightly different part of the brain, I think.
When authors who write literary fiction begin to write screenplays, everybody assumes that's the end. Here's another who's never going to write well again.
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