I approach writing stories as a recorder. I think of my role as some kind of reporting device - recording and projecting.
There were times Ruma felt closer to her mother in death than she had in life, an intimacy born simply of thinking of her so often, of missing her. But she knew that this was an illusion, a mirage, and that the distance between them was now infinite, unyielding.
Each day she removes a small portion of the unwanted things in people's lives, though all of it, she thinks, was previously wanted, once useful. She feels the sun scorching the back of her neck. The heat is at its worst now, the rains still a few months away. The task satisfies her. It passes the time.
If I stop to think about fans, or best-selling, or not best-selling, or good reviews, or not-good reviews, it just becomes too much. It's like staring at the mirror all day.
I always think first about the nature of the story. When I had the idea for 'The Namesake,' I felt that it had to be a novel - it couldn't work as a story.
When I sit down to write, I don't think about writing about an idea or a given message. I just try to write a story which is hard enough.