A Quote by Etgar Keret
Writing is very castrating in the moment. Fiction in general, it has no function, nobody asks for it.
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Nobody can refuse a person who comes and asks for a job. Nobody can refuse a poor man when he goes and asks for food. Nobody can stop any Indian if he asks a question of his government. This is what the Congress party and the UPA have done over the last 10 years.
Writing fiction is very different to writing non-fiction. I love writing novels, but on history books, like my biographies of Stalin or Catherine the Great or Jerusalem, I spend endless hours doing vast amounts of research. But it ends up being based on the same principle as all writing about people: and that is curiosity!
In general, fiction is divided into 'literary fiction' and 'commercial fiction.' Nobody can definitively say what separates one from the other, but that doesn't stop everybody (including me) from trying. Your book probably will be perceived as one or the other, and that will affect how it is read, packaged and marketed.
In my opinion there are two basic questions that any writer tries to answer. "What is?" is the question non-fiction asks. "What if?" is the question fiction asks. That's the question I'm more interested in.
My writing of fiction comes under a very general heading of those teachers, critics, scholars who like to try their own hand once or twice in their lives.
When you're writing a book that is going to be a narrative with characters and events, you're walking very close to fiction, since you're using some of the methods of fiction writing. You're lying, but some of the details may well come from your general recollection rather than from the particular scene. In the end it comes down to the readers. If they believe you, you're OK. A memoirist is really like any other con man; if he's convincing, he's home. If he isn't, it doesn't really matter whether it happened, he hasn't succeeded in making it feel convincing.
For just as for a flute-player, a sculptor, or an artist, and, in general, for all things that have a function or activity, the good and the well is thought to reside in the function, so would it seem to be for man, if he has a function.
I stopped writing fiction the moment I started writing songs, and I miss it.
We're completely confused about the boundaries between fiction and non-fiction. To me, the moment you compose, you're fictionalising; the moment you remember, you're dreaming. It's ludicrous that we have to pretend that non-fiction has to be real in some absolute sense.
I don't think the function of writing, at least for me as a fiction writer, is to say to people, "Here's the answer." It's not an op-ed.
I've been writing long enough to know that fiction, as a rhetorical mode, works very differently from expository writing. If an author has a specific critique about contemporary society in mind, fiction tends not to be the best means to deliver that critique.
A couple of pieces of advice for the kids who are serious about writing are: first of all, to read everything you can get your hands on so you can become familiar with different forms of writing: fiction, non-fiction, poetry, journalism. That's very important. And also keep a journal. Not so much, because it's good writing practice. Although it is, but more because it's a wonderful source of story starters.
Angela Carter's fiction blew me away and really instilled a passion for writing, bolstered by Vladimir Nabokov. But in general, I can't point to any one thing. I just always loved books and writing.
Nobody ever asks a man how he gets stuff done. Nobody asks a man how he finds balance.
If you lose a game, everyone asks why this player didn't play. If we win, nobody asks.
Writing the past is never a neutral act. Writing always asks the past to justify itself, to give its reasons... provided we can live with the reasons. What we want is a narrative, not a log; a tale, not a trial. This is why most people write memoirs using the conventions not of history, but of fiction.
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