I can’t have composite characters. I can’t attribute dialogue to someone based simply on my memory and not based on notes taken at the time that the words were spoken.
There are also so many emotional aspects to money – feelings of inadequacy, feelings of security. I am not sure if there needs to be more about money in fiction, but the absence of this aspect can make a story feel somehow frictionless and unreal.
When someone gets a success, and we, too, have done good work and sometimes even better work than the person who has just triumphed, we wonder: Why did success pass me by?
If anybody reads an Indian newspaper, all these things are obvious, and so I am not breaking news. All I am doing is representing my community as it actually is.
For me, a lot of the humor comes not from innocence but from characters trying to figure out how to get what they need. I don’t try to be funny, but am relieved when an opportunity comes up for humor.
Intern will resonate not only with doctors, but with anyone who has struggled with the grand question ‘What should I do with my life?’ In a voice of profound honesty and intelligence,
While a dramatized scene is a way of proving and guaranteeing an emotional experience for the reader, exposition assumes that the reader is sophisticated and can see the universal.
One’s life completely changes based on the rain. After the monsoon, because the dust settles, one can see further and so it feels like one’s eyesight has improved or that one is living in a different country where there is more light.
Novels should be judged rigorously. Either a book works or it doesn’t. The fact that something is true in the real world should not lend authority to it in fiction.
