A Quote by Gary Shteyngart

Usually, with a novel, you start with no idea what to do because your job is to create convincing characters and then they just run around getting crazy. The problem with writing a memoir, obviously, is you can't do that because you sort of know what's going to happen. Because you're the character.
I start writing with only the vaguest idea about who my characters are and what is going to happen, and the characters and plot come into existence as I go. I've tried doing it the other way, but for me, outlining is a waste of time because I never follow the outline.
When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.
I tend to write about towns because that's what I remember best. You can put a boundary on the number of characters you insert into a small town. I tend to create a lot of characters, so this is a sort of restraint on the character building I do for a novel.
Writing a novel isn't like building a brick wall. You don't figure out how to do it, and then it gets easier each time because you know what you're doing. With writing a novel, you have to figure it out each time. Each time you start over, you just have the language and the idea and the hope.
I'm character-driven. If it's a great character and something different; because I find that a lot of the times you do get pigeon-holed, you do get the same characters over and over again because that's what producers are comfortable with. They've seen you do it, they know you can do it. I'm kind of getting a little stir crazy.
If you think of the people who are funny in your life, you'll note it's not because they tell jokes, it's because of their character. If you develop characters, then you'll know them, and you'll know how they'll speak. The comedy will come out of the character.
Sometimes when you do a part, the wall between you and the characters can be very porous. You can sort of move in and out of your character's persona and being. And that just couldn't happen on this one because of working with him.
I couldn't have articulated this process at the time; I just sort of did it instinctually. But now when I talk about this with my students all the time, it's one of the first things I address in memoir classes - that you have to put it all in because you're writing your way into the ending of your own story. Even if you think you know what the story is, you don't until you write it. If you start leaving things out you could leave out vital organs and not know it.
I started writing morning pages just to keep my hand in, you know, just because I was a writer and I didn't know what else to do but write. And then one day as I was writing, a character came sort of strolling in and I realized, Oh my God, I don't have to be just a screenwriter. I can write novels.
With a novel, you have the reader with you a lot longer, and you owe him a lot more. Obviously you have to have a plot - I say "obviously," although I think a lot of fiction doesn't, and nothing seems to happen. But to me, there should be something that happens, and it should be at least vaguely plausible. And because the readers are going to be with these characters for a long time, you have to get to know them and like them and want to know what happens to them.
When you're just starting out in the TV business, you don't know anything at all, and you think you're doing a better job than everyone else around you, and you just sort of presume that you're not getting the credit you deserve. And then when you start to get better, the pressure is extraordinary, and then you start to second-guess everything you do, and when people start looking to you for answers, for insight and for analysis and guidance, you start to wonder if you are the right person - even when you have all the information.
..The truly fraudulent claims must be discarded. But novel methods of therapy should not be rejected because they are novel, or because they run counter to some generally accepted belief ("which may just be biased"), or because we do not understand the mechanism of the proposed treatment, or because it has come from an unconventional source.
God knows nobody hated running more than me. Because I was writing and rewriting the script, I thought that I'm going to have to run because I'm going to have to know what it feels like to run.
I like movies. I've written screenplays as a sort of procrastination thing for me. Like I'll work for a couple months on this idea that's been kicking around and then like 30 pages in I'll just go try a novel because it's a lot easier. That's what I know. So why am I killing myself?
You're sort of programmed a certain way because of your environment. That's all you know. But we don't have that anymore because of the internet. Because of the internet we're all communicating with each other all across the board, so you're getting information from people all around the world, hitting a much more diverse slice of culture.
I'm always telling myself as I write that I'm not really writing a novel; I'm just going to fool around with a character or an idea.
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