Solomon Northup is one of the most remarkable people I've ever encountered in my life; one of the most amazing stories I have ever been in any kind of contact with. To not tell that story would have been disgraceful, in my opinion.

I've been blessed with so many opportunities and so many amazing things throughout this process. But all the while, I remember that the reason that I'm here and the reason that I do music and tell these stories is that people come to know the love, the God that I know.

Tell me, why is the media here so negative? Why are we in India so embarrassed to recognise our own strengths, our achievements? We are such a great nation. We have so many amazing success stories but we refuse to acknowledge them. Why?

Long before I became a feminist in any explicit way, I had turned from writing love stories about women in which women were losers, and adventure stories about men in which the men were winners, to writing adventure stories about a woman in which the woman won. It was one of the hardest things I ever did in my life.

Long before I wrote stories, I listened for stories. Listening for them is something more acute than listening to them. I suppose it's an early form of participation in what goes on. Listening children know stories are there. When their elders sit and begin, children are just waiting and hoping for one to come out, like a mouse from its hole.

"I hope that the epitaph of the human race when the world ends will be: Here perished a species which lived to tell stories.

A good piece of fiction, in my view, does not offer solutions. Good stories deal with our moral struggles, our uncertainties, our dreams, our blunders, our contradictions, our endless quest for understanding. Good stories do not resolve the mysteries of the human spirit but rather describe and expand up on those mysteries.

I don't think everyone wants to create the great American novel, but we all have a dream of telling our stories-of realizing what we think, feel, and see before we die. Writing is a path to meet ourselves and become intimate.

"Language allows us to reach out to people, to touch them with our innermost fears, hopes, disappointments, victories. To reach out to people we'll never meet.

"So here is why I write what I do: We all have futures. We all have pasts. We all have stories. And we all, every single one of us, no matter who we are and no matter what's been taken from us or what poison we've internalized or how hard we've had to work to expel it ?

On the whole, stories don't write themselves.

Jane's stories are too sensible. Then Diana puts too much murders into hers. She says most of the time she doesn't know what to do with the people so she kills them off to get rid of them.

All the stories I would like to write persecute me. When I am in my chamber, it seems as if they are all around me, like little devils, and while one tugs at my ear, another tweaks my nose, and each says to me, 'Sir, write me, I am beautiful.

I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language.

I see things, that's all. Write enough stories and every shadow on the floor looks like a footprint; every line in the dirt like a secret message.

Write every day, line by line, page by page, hour by hour. Do this despite fear. For above all else, beyond imagination and skill, what the world asks of you is courage, courage to risk rejection, ridicule and failure. As you follow the quest for stories told with meaning and beauty, study thoughtfully but write boldly. Then, like the hero of the fable, your dance will dazzle the world.

We are all refugees from our childhoods. And so we turn, among other things, to stories. To write a story, to read a story, is to be a refugee from the state of refugees. Writers and readers seek a solution to the problem that time passes, that those who have gone are gone and those who will go, which is to say every one of us, will go. For there was a moment when anything was possible. And there will be a moment when nothing is possible. But in between we can create.

I just knew there were stories I wanted to tell.

Borges said there are only four stories to tell: a love story between two people, a love story between three people, the struggle for power and the voyage. All of us writers rewrite these same stories ad infinitum.

Write a short story every week. It's not possible to write 52 bad short stories in a row.

Bad writing is more than a matter of shit syntax and faulty observation; bad writing usually arises from a stubborn refusal to tell stories about what people actually do? to face the fact, let us say, that murderers sometimes help old ladies cross the street.

There is something in us, as storytellers and as listeners to stories, that demands the redemptive act, that demands that what falls at least be offered the chance to be restored. The reader of today looks for this motion, and rightly so, but what he has forgotten is the cost of it. His sense of evil is diluted or lacking altogether, and so he has forgotten the price of restoration. When he reads a novel, he wants either his sense tormented or his spirits raised. He wants to be transported, instantly, either to mock damnation or a mock innocence.

You know, it's a funny thing about writers. Most people don't stop to think of books being written by people much like themselves. They think that writers are all dead long ago--they don't expect to meet them in the street or out shopping. They know their stories but not their names, and certainly not their faces. And most writers like it that way.

We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.