A Quote by John Tiffany
I suppose the key for me is about opening up experiences and untold stories to audiences.
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Here's the weird thing about me. I was never one to tell you stories about me. I was always the guy who others told stories about. I was like that up until I was 35 years old. And then I started telling stories about me onstage.
I'm drawn to female stories, of which there aren't that many, and particularly to stories now about older women. The things they have to confront and override is really fascinating. That's a whole untold part of our world.
India went through a dramatic revolution after the '90s when our economy started opening up for the first time and Indians were now experiencing the Western life, if you will. Drugs and sex and a lot of those influences came in as the economy stabilized, and we were growing up and experiencing that. The Indian writing market was very small at that time. Our literature was very attuned to what Western audiences were interested in, so everybody was writing about the slums in India and magic realism or stories about Hindus and Muslims and partition.
That larger story in 'Salvage the Bones' is just about survival, and I think that, in the end, there are things about this novel and about these characters' experiences that make their stories universal stories.
...opening up a newspaper is the key to looking classy and smart. Never mind the bronze-plated stuff about the role of the press in a democracy - a newspaper, kiddo, is about Style.
I like to tell untold true stories, or the lesser-known aspects of larger, familiar stories. I think people or topics that are slightly on the edge or outside the mainstream often reveal more than better-known stories.
I hear all the time that boys don't like stories about girls. Which never made much sense to me. Wasn't 'Terminator' about a girl? And 'Alien'? Hell, I grew up on 'The Wizard of Oz.' People enjoy stories about anything if they're good stories.
Judges can bring their own biases about sexuality in the courtroom, causing victims untold pain in the telling and retailing of their stories.
It's often difficult to get perspective on your own stories, on your own experiences, without talking them through with someone who is genuinely interested in thinking about them. And that's the key.
Originally I wanted somewhere to set my short stories about the sort of people I recognise having grown up with. Carnbeg was staring me in the face all the time, only I had somehow failed to see that. Not seeing the wood for the trees, I suppose.
All of my books are based in some way on my personal experiences, or the experiences of members of my family, or the stories kids would tell me in school.
My father, if anything, first and last, was a man of words. He loved stories; he didn't live for stories, exactly, but I think he lived through stories. I think, like many writers, he loved stories about things he had experienced as much as, if not more than, he loved the experiences themselves.
I'm aware of narrating certain experiences as they happen or obliterating those experiences with narrative and then those stories - not the experiences themselves - might become material for art. This kind of transformation shows up a lot in 10:04 because the book tracks the transposition of fact into fiction in the New Yorker stor
Somehow, I realized I could write books about black characters who reflected my own experiences or otherworldly experiences - not just stories of history, poverty and oppression.
There are so many screenwriters with incredible stories to tell, so I hope there will be some kind of shift in the business where very few types of movies are now made by the studios. There needs to be different budgets for different audiences; not everything having to be a huge opening weekend.
How many stories have you read that aren't true, stories about me and Angie being married or fighting or splitting up? And when we don't split up, there's a whole new round that we've made up and we're back together again!
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