A Quote by Will Self
My novels tend to come about from a fusion of two big ideas, creating a critical mass that then fissions, throwing off hundreds of other particles, riffs, tropes and characters.
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Now you mustn't think that I don't have any ideas for novels in my head. I've got ideas for ten novels in my head. But with every idea I have, I already foresee the wrong novels I would write, because I also have critical ideas in my head; I've got a full theory of the perfect novel, and that's what stumps me.
I think that you're smarter than we were, but we had two things: one is, in our naïveté we believed we could change the world. And number two, we believed that another world was possible. And once that belief took hold of some critical mass, a tiny minority nonetheless, but a critical mass of people, then the world did change.
Every subatomic interaction consists of the annihilation of the original particles and the creation of new subatomic particles. The subatomic world is a continual dance of creation and annihilation, of mass changing into energy and energy changing into mass. Transient forms sparkle in and out of existence, creating a never-ending, forever newly created reality.
Maybe we could think of science as being like a nuclear chain reaction in which people and ideas bounce off each other, and if critical mass is reached, a new field is formed.
One of my standard - and fairly true - responses to the question as to how story ideas come to me is that story ideas only come to me for short stories. With longer fiction, it is a character (or characters) coming to visit, and I am then obliged to collaborate with him/her/it/them in creating the story.
We built 'Jade Empire,' then we built 'Mass Effect,' then we built 'Dragon Age.' With those last two, when you're dealing with two big ideas that are on their third iterations, you develop some strategies for managing your lore, or you drown!
There are two different forms of storytelling: Novels tend to come from the inside of a character, and movies tend to look at them from the outside in relation to others in their world.
There's nothing funnier for me than taking two characters and throwing them into a pressure cooker and letting them turn on each other. Especially if they already tend to be loud, aggressive, alpha types. That's sort of everything from 'The Honeymooners' to 'Goodfellas' to 'The Sopranos.'
In Pakistan, many of the young people read novels because in the novels, not just my novels but the novels of many other Pakistani writers, they encounter ideas, notions, ways of thinking about the world, thinking about their society that are different. And fiction functions in a countercultural way as it does in America and certainly as it did in the, you know, '60s.
The first stage in a technology's advance is that it'll fall below a critical price. After it falls below a critical price, it will tend, if it's successful, to rise above a critical mass, a penetration.
I'll come in with a string of riffs and direct the musical ideas. But you still need a band and their input to make the ideas come alive. You can't underestimate band chemistry.
All middle-class novels are about the trials of three, all upper-class novels about mass fornication, all revolutionary novels about a bad man turned good by a tractor.
The big, fun, ambitious ideas tend to come out of the frustration of talking for too long about the smaller, weaselly ones.
When people think girl adventurers, they tend to think of a spunky, plucky tom-boy with a chip on her shoulder. I'm not saying that this makes for a dull character, but I think other types of adventurous girls exist. It's easy to fall into well-established tropes, believing that the tropes of a genre define the genre itself.
I want to do some different kind of songs, but say I want to do riffs, but I don't come up with any riffs that I really think are great. Then I can't do a riff album. I'm more of a song, melody person.
I tend to have an endless number of ideas for writing projects. I don't necessarily say that as a good thing. Maybe it's a good thing, but I have ideas for all kinds of projects: contemporary novels, graphic novels, anything that happens to go through my mind.
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