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.
My thirty-seventh birthday had just come and gone, the end of 2008 was approaching, and I was constantly aware of how little I had managed to accomplish.
Certainly the details of our life are unique. Spending time thinking of how I am different from someone else, however, does not tend to be very productive.
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.
I can guide them to books that will serve as role models. Largely, though, one learns to write almost like developing muscle memory, and this requires years of effort.
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.
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.
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?
People often need to describe things quickly and so they use a shorthand. The problem is that after they use a label, they begin to think only in terms of the label instead of the totality of the experience a novel provides.
Money is part of how we move through the world, what stores and restaurants we go into, whether we take a train to the airport or a taxi. Describing characters living in the real world requires describing them engaging with money.
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.
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.
I need to tell the things that are important but which don’t make sense in terms of the narrative, things that would destroy symmetry or narrative pace. This is my personal belief about what it means to write nonfiction.
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.
