Irvine Welsh Quotes
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It's part of me, Scotland. I'm still immersed in it even though I am not there.
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I think the novel is at one end of the art-entertainment continuum - the play in the middle - while TV and cinema veer a bit more towards entertainment.
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Writing has been handed to me on a plate.
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When a town doesn't have a book store, it is like something is missing, and unfortunately, fewer and fewer have them.
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I know when I go and see a writer, the first thing I think to myself is, 'Are they the character in the book?' You just can't help it; it's the way people are.
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I grew up in a place where everybody was a storyteller, but nobody wrote. It was that kind of Celtic, storytelling tradition: everybody would have a story at the pub or at parties, even at the clubs and raves.
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People in Scotland want the parliament but don't give a toss about the elections.
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You know what it's like: you don't want to read your old books again. All you can see are the flaws, what you would do differently.
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If you're going to do something that's going to cause offence to people, you're always going to get a reaction.
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When I left school at 16, I became an apprentice television and radio technician, and was paid £17 a week, which was decent money in 1976. But the job turned sour when I gave myself an electric shock while repairing a television set.
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Middle-class people worry a lot about money. They worry a lot about job security, and they do a lot of nine-to-five stuff.
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Underground people pay a desperate toll finding out things nobody else has discovered yet. We run around like headless chickens looking for the next cultural fix to spiral around in before it gets appropriated somewhere else and becomes something it never was. There's this sort of one-upmanship in the underground.
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I'm the worst employee in the world. I'll cheat and steal time and resources from my employer, although I'll con everybody into believing I'm essential to the operation.
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When I'm not writing, I read loads of fiction, but I've been writing quite constantly lately so I've been reading a lot of nonfiction - philosophy, religion, science, history, social or cultural studies.
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You're on your own with the book. And while you are writing fiction, you're spending all this time with people who don't actually exist, which is just madness.
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I created something that became a phenomenon without becoming a prisoner to it.
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I wanted to capture the excitement of house music, almost like a four-four beat, and the best way to do that was to use a language that was rhythmic and performative.
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I'm the worst employer I could wish for because I push myself hard.
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I make out a play list for every character and buy the records they would listen to; it helps me find their personas. What they play, where they stay, who they lay, is my matrix for character development.
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What worries me is the professionalism of everything.
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Words should have the power to inform and to move, not the power to send people scurrying away. But if you attach that much emotional energy to a word, it gives people the power to hurt each other.
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When people start writing there is this idea that you have to get everything right first time, every sentence has to be perfect, every paragraph has to be perfect, every chapter has to be perfect, but what you're doing is not any kind of public show, until you're ready for it.
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I'm working on a screenplay right now for the BBC, but I hope to have the decks cleared soon so I can get into the studio with my pals and put down some more tracks, try to get a strong dance single together.
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Hugo Boss is my kind of label.