Don't look back until you've written an entire draft, just begin each day from the last sentence you wrote the preceeding day. This prevents those cringing feelings, and means that you have a substantial body of work before you get down to the real work which is all in . . . The edit.
I think of writing as a sculptural medium. You are not building things. You are removing things, chipping away at language to reveal a living form.
The writing life is essentially one of solitary confinement - if you can't deal with this, you needn't apply.
I prefer to write first drafts as soon as possible after waking, so that the oneiric inscape is still present to me.
You know that sickening feeling of inadequacy and over-exposure you feel when you look upon your own empurpled prose? Relax into the awareness that this ghastly sensation will never, ever leave you, no matter how successful and publicly lauded you become. It is intrinsic to the real business of writing and should be cherished.
I write as someone who has no more time for repressive Islam than he does for repressive Christianity or Judaism, but at least look at the face in the hijab - and try to imagine the one beneath the niqab - before you depersonalise its wearer.
I always wanted to write fiction. Always. As far back as I can remember it's been integral to my sense of myself - everything else was always a displacement activity.
I write because I feel driven to write. I write from a sense of inner necessity. I don't write for anything other than that.
In my view the plangent artificiality of a lot of creative work results from the fact that the people who write novels, direct films and put on plays tend to read too many novels, watch too many films and go to too many plays.
Live life and write about life. Of the making of many books there is indeed no end, but there are more than enough books about books.
The seventies were my fattest decade. Overall I think the seventies were distinctly bulbous. People looked chunky, typefaces were rounded, writing implements penile.
For myself, I haven't been content to carry on producing books that merely strain against the conventions - as I've grown older, and realised that there aren't that many books left for me to write, so I've become determined that they should be the fictive equivalent of ripping the damn corset off altogether and chucking it on the fire.
From time to time, as if heaven-sent to annoy, someone will ask me if I'm self-disciplined when it comes to my work. I usually look witheringly at them and snarl, 'What do you think?' I mean, how do you imagine anyone writes a quarter of a million words a year for publication?
As for critical writing about modernism, its moments of lucidity are but fulgurations illuminating the dark and incomprehensible landscape of its subject's unabashed difficulty.
Well, I wanted to be a philosopher, which is the idlest occupation in the world. I wanted to be involved in abstract thought, but because of various problems with the authorities I wasn't able to pull that one off. A lifetime of idleness in academia would have really suited me. So I was thrown out, as it were. Other than that, there seemed no possible idle occupations, so writing . . . although writing isn't exactly idleness. There's an enormous tension between indolence and languor.
I'm very happy for whatever plaudits might come the way of my work, but I never ever sit down to write x with y in view - whether it's a reader, a prize or a sale.
To attempt to write seriously is always, I feel, to fail - the disjunction between my beautifully sonorous, accurate and painfully affecting mental content, and the leaden, halting sentences on the page always seems a dreadful falling short.
The marvellous thing about writing, whether it be fiction or journalism, is that it is simultaneously the most intimate and the most anonymous of meetings between people. It is profoundly intimate in reaching into the psyche of another, at the same time as being devoid of social characteristics, cultural characteristics, economic characteristics.
