I don't care if my books don't sell abroad; we have a large enough market in our country. I write for Indian readers.
Writing about our gods in English is unnatural, but I believe language is just a carrier - a means to an end.
My son was five months old, and I built a makeshift studio in my living room so that I could do the attachment parenting approach and write the record at the same time. That was fortuitous, that we could build that in the house.
I know have lived, so many times, that the only thing I have left to remember is my writing, cause every single moment in life it's already written.
I need to have some depth in my characters. That's why they are all Bengalis. I can't imagine writing a book with someone called Saxena as the hero.
These secrets are not secrets per se but are truths hidden from public view. I had to write this book. There had to be a reason I survived to tell this story.
You see, I believe that you cannot be taught to 'write.' You can be taught grammar and punctuation, but you cannot be taught to be a writer. That has to come from within.
I often feel newspapers are just filling up space. Of course, I also know people who write really long books.
I contend that in the kind of nonfiction I write, and that other people also pursue, anything is permissible provided the reader knows what you're taking liberties with.
Occasionally I write a small piece or the odd lecture in English, and I teach in English, but my fiction is always written in German.
This will surprise some of your readers, but my primary interest is not with computer security. I am primarily interested in writing software that works as intended.
I know a lot about writing, but I don't know much about how other industries work. I've tried to use my naivety to my advantage.
I want to write more books, see my first novel made into a film, fight more campaigns, work in more countries. I want to be able to recall experiences that have endured for their pleasure and range and intensity.
There is a tradition that sees journalism as the dark side of literature, with book writing at its zenith. I don't agree. I think that all written work constitutes literature, even graffiti.
I have to work really hard, eight shows a week, to get a nice check as an actor. But when I write a play, and it's a - knock wood - hit, the checks come in for many years.
There are plenty of secondary characters that I had always hoped to write, but I don't know if it will ever happen. The way contracts work, if you leave one publishing house for another, the characters tend to stay with the previous publishing house.
Normally I work out a general summary of what I mean to do, then start writing, and the details can be different from my anticipation. So there is considerable flow, but always within channels.
My female writers have always been my backbone. I had a writing room of six women for five years so I know what women do. Cultivated by me, by the way!
I wish I was the kind of writer who would go to a war zone and write about something that's meaningful and important to people, but that's not my area of coverage.
As soon as I read that, it clicked: that's my theater of war. It was exciting to think that I could write about World War Two from a totally new place.
But this lump does not absolve me, because I got it through heedlessness, not though courage. I run my tongue over my lip and what do I do? I write. But bad literature brings no redemption.
