A Quote by Twinkle Khanna
I was doing some research on menstruation for a column. I read about Arunachalam Muruganantham's life and work, and his story gripped me, and that is when I sat down, wrote the first few pages, and sent them off to my editor to have a look.
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I invented animals and birds - I had about two dozen. After working on them for six months, I sat down and just for fun wrote two dozen poems to accompany the drawings. It was for no one to every see, but a friend sent me in to an editor.
When I first got back from the war, I said, 'I'm gonna write the Great American Novel about the Vietnam War.' So I sat down and wrote 1,700 pages of sheer psychotherapy drivel. It was first person, and there would be pages about wet socks and cold feet.
I came from a family where, you know, we sat down at the table every night, and you better have a story to tell. My father never wrote his stories down. And you know, I learned that they went farther if you wrote them down.
With my two brothers, Jean-Marie and Joel, I wrote a two-page story and wanted to make some kind of movie. We met a French production company, called Why Not?, and the first name we put on the list was Ken Loach. It was a dream for all of us. So, we tried and we met Ken and Paul Laverty, his writer, and they read the two pages and were inspired by that to do something. Paul had the freedom to do his own story - and he wrote his own story, which is better than the one we'd written.
I sent The World Well Lost to one editor who rejected it on sight, and then wrote a letter to every other editor in the field warning them against the story, and urging them to reject it on sight without reading it.
I've been doing morning pages: the first thing I do when I wake up is sit down and write three pages of whatever comes into my head. The more I do them, the more creative I get and the smaller my problems seem. I can turn something that I hated a few days ago into a short story or a song.
Writing is a black-box proposition. You see actors; you can see what they're doing. You can watch the director on set doing his work. But when a studio says to a writer, 'Give us some pages,' he just goes off and comes back. It's just pages, and suddenly, there's some writing on them.
My last point about getting started as a writer: do something first, good or bad, successful or not, and write it up before approaching an editor. The best introduction to an editor is your own written work, published or not. I traveled across Siberia on my own money before ever approaching an editor; I wrote my first book, Siberian Dawn, without knowing a single editor, with no idea of how to get it published. I had to risk my life on the Congo before selling my first magazine story. If the rebel spirit dwells within you, you won't wait for an invitation, you'll invade and take no hostages.
My original book [Straight to the Heart: Political Cantos] was 1,700 pages. The first editor brought it down to 700; there was a lot that didn't make it in. But at last it's finished. I had a hard time signing off on it. And I was worried about it hurting anyone I loved even indirectly. I sat in my room afterwards for two hours wondering what I had done. I wondered about it being judged and if people would understand.
I was writing everything. I grew up in Albany, New York, and I was never any farther west than Syracuse, and I wrote Westerns. I wrote tiny little slices of life, sent them off to The Sewanee Review, and they always sent them back. For the first 10 years I was published, I'd say, "I'm a writer disguised as a mystery writer." But then I look back, and well, maybe I'm a mystery writer. You tend to go where you're liked, so when the mysteries were being published, I did more of them.
When I worked as an editor, I read new novels being published in India every few days. They excited me tremendously for the first fifty pages or so, and boasted some true linguistic genius at times, but none of those writers could occupy more than one mind at once.
Great pressure was put on the editor, David Schneiderman, to not run the strip [of Jules Feiffer]. It was offensive. It was racist. And nobody apparently read the strip and saw what it was about. And I wrote a column about that.
When I was first approached about doing an autobiography, I said, 'absolutely not.' But when I sat down, memories came pouring out. It wrote very quickly - I think there was an emotional impulse, because once I started in, the story itself carried me along. It was a very intense writing period and took a year and change to finish.
I feel if some kid has sat down and felt I'm important enough to write two pages of words to and take up a lot of his valuable time, then he deserves a few words back, or even a phone call as I have done on a few occasions.
I sat down and wrote, 'Are your emotions pure? Are they the stuff of heroes or the alloyed mess of the beaten? How do you stand in relation to the potato?' And it was a lot of fun, and I kept going and woke up at some point in some horror that I had about 142 pages of this.
The menstruation taboo is ancient, and there are so many theories about it. For some, it is fear of blood, and for some, period blood is toxic. If you read the theories about menstruation, you might even laugh.
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