Vikas Swarup Quotes
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Indian writers have appropriated English as an Indian language, and that gives a certain freshness to the way we write.
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Twenty20 is cricket on speed. In an era of hectic lifestyles and falling attention spans, it gives spectators more drama and intensity in three hours that they would get from a whole-day match. And even though it is a heady cocktail of money, entertainment and media, at its core it is cricket.
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I write fast. But it takes me a while to get going. It's very important for me to see my whole plot. I have to see the end first because I like a surprise in the end. Which is why I let characters and plot gestate in my mind.
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I am neither a Bengali nor am I from Delhi's St Stephen's. I am an Allahabad boy.
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I became completely addicted to 'Angry Birds' for a while.
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I think mobility is very important, not only to discover opportunities elsewhere but at times, also to appreciate better what your home town has. Allahabad, for instance, has the feel of a small, tightly-knit community where everyone participates.
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I am not into the unrealistic realm of magic realism where birds talk.
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I need to meet people to be able to write.
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I am the luckiest novelist in the world. I was a first-time novelist who wasn't awash in rejection slips, whose manuscript didn't disappear in slush piles. I have had a wonderful time.
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I want to show that the underdog can win. I believe we're all the same: you, a slum girl, my mother.
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Writing is a very lonely occupation. To write you need to concentrate, to concentrate you need to lock yourself away. No distractions; you want your stream of thought uninterrupted.
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Mumbai may not be my city. But it is my kind of city.
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Global terror does not respect national boundaries.
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People don't just want a mindless flick with a superstar; they want to connect more deeply.
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For me, the day job comes first. That's why I call myself a diplomat who writes, not a writer who masquerades as a diplomat. If the day job demands it, I won't write at all. I write in what I call 'the crevices of my day job', and that comes only on weekends.
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All I can say is that I am not one of those writers who want 100% of their book in the film. I recognize that film is a different medium and the filmmaker must have the right to bring some new elements to the table, provided the soul of the book is preserved.
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I'm the opposite of those writers who believe that my work is sacrosanct and cannot be touched.
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Just because someone has gone to an elite school and college does not make him smarter than the person who has grown up on street knowledge.
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The fight against international terrorism isn't just a fight against a bunch of misguided extremists; it is a fight to defend the values that we hold dear.
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My books may highlight corruption, brutality and venality, but they also show that if these things come to light, there is rectification. The voiceless do have a voice; democratic mechanisms and accountability do exist.
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The first thing you have to understand is that I was not desperate to be a writer. I was never a closet writer filing away notes in a cupboard.
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I don't look at myself as a writer; I am a storyteller.
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I am very interested in human-interest stories emerging from modern India. I get my inspiration and daily dose by reading the 'Hindustan Times.'
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Sometimes street knowledge can be as important as book knowledge.