Whatever you're writing, just go forward until you get to the end. Whenever I get to the end of a piece of work, I can see much moire clearly what it needs - too long here, too short there, be clearer here, tell me more about this character, cut this scene entirely, and so on. Once you have something down on paper, however rough, your critical sense kicks in as well as your creativity. So: just finish, then see what you've got.
After your glowing recommendations (from your most recent published essay collection), I read One Hundred Years of Solitude (and have already gifted multiple copies of the book).
My question is: As a writer, how do you read a book like that and not throw in the towel forever? ie how do you stop yourself from discarding everything you may have already written?
Thank you.
P.S. I have also felt the same way while reading Midnight’s Children…..and also while reading anything by Barthelme….or Kafka….or….Chekhov…I guess it happens quite a bit (you should see my trash bin of discarded pages).
I had that throw-in-the-towel feeling the first time I read Joyce's Ulysses. I was maybe 20 years old. But at some point, like Beckett's Unnamable, I told myself, "I can't go on. I'll go on."
I recently saw you chat with Laurie Anderson for her Norton lecture series. You said to her that you used to outline your stories but now your process is more spontaneous. Do you think plotting out the novel perhaps gives more structure for someone starting the writing journey?
Has publishing on substack helped you get in touch with your audience better than other media platforms? Also, as an additional part of that question, as a writer, has this helped you be able to say things that most traditional publications wouldn't allow you to say? And also has this changed your barometer of what freedom of speech dares to do. I guess, if you don't dare, you won't win, right?
A fun question I guess is, how many times have you read the Dune novels, and as a writer, which novel do you find more surprised by if and when you read the series (and what has stayed with you from the book all these years)? And if you can, elaborate on how that series influenced your science fiction/fantasy worlds, if it has?
Of the choices you offer: Fellini in first place, followed by the Cones. I admire Ozu and Bergman immensely, but they are filmmakers whose vision was very unlike mine.
Mr. Rushdie, thank you for doing this. Do you think that the rise of real life grotesqueries in politics and the media makes it more difficult for fiction writers to place similar characters in their own work? Is there a temptation to ‘top’ real life in the hideousness stakes?
When you are writing symbolic elements into your stories, what is the process? (Ie: are you looking for ways to infuse the story with symbolism as you go the first time through, or is it something that appears organically and you punch it up later, or something else?)
I don't think symbolically. I think first about place and time, then about character and form, and mostly about how to tell the story. If symbolism shows up along the way, that's fine.
I am 55 and after an age in finance reading for a Masters in Eng Lit with a view to teaching kids how to think. What bookw would you engage with a 16 year old science nerd?
Interviewer to Boris Johnson: "Of all the lies you;'ve told, Prime Minister, which is your favorite?" Boris Johnson: "I don't tell lies." Interviewer: "Yes, that's my favorite too."
What (if any) was your relationship with the Mahabharat as a young person in India? Growing up in India as I did, I found that it was impossible to escape its mythology in everyday life. Have you ever considered retelling that story?
I have always had the Mahabharata, Ramayan, Panchatantra, Kathasaritsagr in mind, and they have been very helpful to me. No, I wouldn't retell any of them, but I draw inspiration from them.
After more than 35 years as a fashion designer, I returned to school and am pursuing an MA in English Lit. My intention is to trade in the atelier for an Underwood. Any words of advice for a late to the party writer?
I am not sure. NYU seems to have a more academically inclined program than FITNY but having been out of academia for so long I worry about references. The Victoria and Albert Museum offers a course in conjunction with the Royal Academy of Art but it seems extremely expensive.
I went to FIT for undergrad. The program was not academic at all. But when I went, they didn't yet offer masters degrees. Since I don't know anyone in fashion who got an MA, I am probably not the best to ask.
There is a program at CUNY's Graduate Center, and I heard from fellow academics that the program is good. But I don't have personal experience with the program. Since the program is within the Liberal Studies School, it would likely suit your academic preference.
I don't know where you live but if your intention is to work in fashion in the States, I know that a European education often pays for itself with US employers. US companies LOVE when a fashion professional is trained in London or Paris.
I live near Vancouver BC. I really intend to research and write on textiles. So not in the fashion industry. I have Canadian and British citizenship. I will look into CUNY. Thank you.
What advice would you give a writer who is a beginner?
Whatever you're writing, just go forward until you get to the end. Whenever I get to the end of a piece of work, I can see much moire clearly what it needs - too long here, too short there, be clearer here, tell me more about this character, cut this scene entirely, and so on. Once you have something down on paper, however rough, your critical sense kicks in as well as your creativity. So: just finish, then see what you've got.
After your glowing recommendations (from your most recent published essay collection), I read One Hundred Years of Solitude (and have already gifted multiple copies of the book).
My question is: As a writer, how do you read a book like that and not throw in the towel forever? ie how do you stop yourself from discarding everything you may have already written?
Thank you.
P.S. I have also felt the same way while reading Midnight’s Children…..and also while reading anything by Barthelme….or Kafka….or….Chekhov…I guess it happens quite a bit (you should see my trash bin of discarded pages).
I had that throw-in-the-towel feeling the first time I read Joyce's Ulysses. I was maybe 20 years old. But at some point, like Beckett's Unnamable, I told myself, "I can't go on. I'll go on."
I recently saw you chat with Laurie Anderson for her Norton lecture series. You said to her that you used to outline your stories but now your process is more spontaneous. Do you think plotting out the novel perhaps gives more structure for someone starting the writing journey?
Yes, probably.
Has publishing on substack helped you get in touch with your audience better than other media platforms? Also, as an additional part of that question, as a writer, has this helped you be able to say things that most traditional publications wouldn't allow you to say? And also has this changed your barometer of what freedom of speech dares to do. I guess, if you don't dare, you won't win, right?
A fun question I guess is, how many times have you read the Dune novels, and as a writer, which novel do you find more surprised by if and when you read the series (and what has stayed with you from the book all these years)? And if you can, elaborate on how that series influenced your science fiction/fantasy worlds, if it has?
Thanks so much and have a great day,
Louis Bruno, Esq.
Which of the following unorthodox choices you feel would've done an exemplary job at adapting "Midnight's Children" ? ( or any of your works for Film)
Yasujirō Ozu
Ingmar Bergman
Federico Fellini
The Coen Brothers
Of the choices you offer: Fellini in first place, followed by the Cones. I admire Ozu and Bergman immensely, but they are filmmakers whose vision was very unlike mine.
Mr. Rushdie, thank you for doing this. Do you think that the rise of real life grotesqueries in politics and the media makes it more difficult for fiction writers to place similar characters in their own work? Is there a temptation to ‘top’ real life in the hideousness stakes?
The real world is always a challenge, and often stranger than fiction. I just have to wait until a story shows up that I need to tell.
When you are writing symbolic elements into your stories, what is the process? (Ie: are you looking for ways to infuse the story with symbolism as you go the first time through, or is it something that appears organically and you punch it up later, or something else?)
I don't think symbolically. I think first about place and time, then about character and form, and mostly about how to tell the story. If symbolism shows up along the way, that's fine.
I am 55 and after an age in finance reading for a Masters in Eng Lit with a view to teaching kids how to think. What bookw would you engage with a 16 year old science nerd?
Maybe The Lord of the Rings? I read the trilogy when I was 16 and it obsessed me.
Do you read passages of your compositions aloud while you are writing?
Sometimes, alone in my room, yes.
Hi, Rushdie,
Do you recommend that a writer must write particular number of words per day, or he or she must go with the flow?
I set myself to write at least 500 words a day. On a good day I do a bit more, but the target is helpful.
What's the best joke you've got?
Interviewer to Boris Johnson: "Of all the lies you;'ve told, Prime Minister, which is your favorite?" Boris Johnson: "I don't tell lies." Interviewer: "Yes, that's my favorite too."
Thank you! I liked your appearance on Larry David by the way!
Any plants or animals in the room where you are right now, and could you tell us about them?
Nope. Sorry.
What (if any) was your relationship with the Mahabharat as a young person in India? Growing up in India as I did, I found that it was impossible to escape its mythology in everyday life. Have you ever considered retelling that story?
I have always had the Mahabharata, Ramayan, Panchatantra, Kathasaritsagr in mind, and they have been very helpful to me. No, I wouldn't retell any of them, but I draw inspiration from them.
If you could live another life, would you be a writer or something else?
Not a question, just a thank you for entertaining me and informing me so well with your excellent books.
After more than 35 years as a fashion designer, I returned to school and am pursuing an MA in English Lit. My intention is to trade in the atelier for an Underwood. Any words of advice for a late to the party writer?
Interesting. I graduated with an MA English Literature 25 years ago and now wish to pursue an MA in textile history.
Marvelous! Which schools are you considering?
Any recommendations?
I am not sure. NYU seems to have a more academically inclined program than FITNY but having been out of academia for so long I worry about references. The Victoria and Albert Museum offers a course in conjunction with the Royal Academy of Art but it seems extremely expensive.
I went to FIT for undergrad. The program was not academic at all. But when I went, they didn't yet offer masters degrees. Since I don't know anyone in fashion who got an MA, I am probably not the best to ask.
There is a program at CUNY's Graduate Center, and I heard from fellow academics that the program is good. But I don't have personal experience with the program. Since the program is within the Liberal Studies School, it would likely suit your academic preference.
I don't know where you live but if your intention is to work in fashion in the States, I know that a European education often pays for itself with US employers. US companies LOVE when a fashion professional is trained in London or Paris.
I live near Vancouver BC. I really intend to research and write on textiles. So not in the fashion industry. I have Canadian and British citizenship. I will look into CUNY. Thank you.
Best wishes!! Let me know when you publish!