I first came across your work as an A Level student in 2007, where I studied the Buddha of Suburbia. Now, as an English teacher, I found myself teaching it the other day.
How do you feel about your work being analysed and written about for exams/essays? Do you think it ruins what the work was intended as, or are you interested in the ideas?
I don’t have a question, but I wanted to let you know that I’m reading ‘Shattered’ and it’s great. The short chapters make it really punchy, loving it.
Maybe I do have a question. Is the conventional novel form dying? Is it perhaps dead already? I speak as someone for whom books were a vital part of life, and for whom they are no longer. I still read, but it’s almost all short form – blogs, Substack, articles, social media interactive et cetera. And I absorb ‘content’ in different ways too – podcasts, streamed media and so on. Reading a book now feels very very hard, both mentally and even physically – it just feels like an odd thing to do. Is that just me? My sense is that it isn’t – that the novel in particular is reaching the end of its natural lifespan (which in the great scheme of things, hasn’t really been terribly long).
Hi Hanif. Finding Shattered an amazing read, thank you. Since you began dictating sentences and working with others to scribe etc, how would you say the act of writing has changed for you as an imaginative process? Is thinking ideas through before setting them down more important now? Is editing after a draft less important? Has it taught you anything new about what makes for good prose??
So how do you prefer your friends to say goodbye when yoh part: a kiss on the cheek (or double kiss), a handshake or something else (presumably, not bejng patted on the head three times!)
Before you wrote your novels, did you do a lot of research, extensive planning, and know exactly what the plot was (beginning, middle and end) before you started writing?
Hi Hanif, I am an unpublished novelist and unknown playwright. Next year I want to either spend time concentrating on finalising my niche horror novel or devote time to getting my play to stage. I think the novel would be the better choice first but my heart draws me to theatre and working with other people. How can I decide so I don’t flutter between the two and end up achieving nothing?
Just been to see The Buddha of Suburbia at the Barbican. What an absolute riot- loved it, and I shall never look at Bromley in the same way. If it's at all autobiographical, was Bromley in the 70s really like that?!
Hi Hanif - when you embark on writing a screenplay, where do you begin? The plot trajectory, characters or dialogue? Do you effectively write a short story or a play first? I know each writer/filmmaker finds their own path but I wondered where you start. Your screenplays are standalone literature and I’ve always enjoyed reading them!
First thank you for your chronicles, really appreciated. Looking forward to the play too.
(I am not a writer); I was wondering if you feel your thoughts and ways of approaching the world have fundamentally changed since your accident. I had read once that patients whom have experienced a traumatic accident that leaves them disabled often are much the same once they have gone through a mourning period. Do you feel the same?
Dear Hanif, what are your thoughts on writers having to do so much promotion on their releases? In my own experience (and that of writer friends), unless the publisher decides that they want to throw the whole weight of their marketing department behind you, an author is on their own. Any ideas on how to push the publisher for more marketing support?
Thank you for your blog and your candour. I'm looking forward to your memoir. :)
Hi Hanif, Just received my copy of SHATTERED in the States. Thx. Eager to dig in. Question: Is there any way to help get all of your films available in the US? It’s a crime that titles such as BUDDHA, SAMMIE, and others are not available to buy/rent on Apple or any streaming service. Or maybe I’m missing something. Every so often I track them down as bootlegs on Youtube, but that’s not sufficient. Criterion? Can we help in any way? Let’s harness the power of your readership here.
Do you think that your new, more collaborative, method of writing (which has worked so well for Shattered), would also work for a full length work of fiction? Would it make controlling the story threads too difficult to manage? Do you think you would be able to fully know your characters, or is there the danger that you would feel slightly distanced from them?
Hi Hanif,
I first came across your work as an A Level student in 2007, where I studied the Buddha of Suburbia. Now, as an English teacher, I found myself teaching it the other day.
How do you feel about your work being analysed and written about for exams/essays? Do you think it ruins what the work was intended as, or are you interested in the ideas?
Thanks - love your work,
Sophie
Hello 🖤 I always associate you & your writing with music. What music are you enjoying listening to right now? I hope you’re having a great day xxx
Is it necessary to have a healthy dose of narcissism to be a good writer?
I don’t have a question, but I wanted to let you know that I’m reading ‘Shattered’ and it’s great. The short chapters make it really punchy, loving it.
Maybe I do have a question. Is the conventional novel form dying? Is it perhaps dead already? I speak as someone for whom books were a vital part of life, and for whom they are no longer. I still read, but it’s almost all short form – blogs, Substack, articles, social media interactive et cetera. And I absorb ‘content’ in different ways too – podcasts, streamed media and so on. Reading a book now feels very very hard, both mentally and even physically – it just feels like an odd thing to do. Is that just me? My sense is that it isn’t – that the novel in particular is reaching the end of its natural lifespan (which in the great scheme of things, hasn’t really been terribly long).
Hi Hanif. Finding Shattered an amazing read, thank you. Since you began dictating sentences and working with others to scribe etc, how would you say the act of writing has changed for you as an imaginative process? Is thinking ideas through before setting them down more important now? Is editing after a draft less important? Has it taught you anything new about what makes for good prose??
So how do you prefer your friends to say goodbye when yoh part: a kiss on the cheek (or double kiss), a handshake or something else (presumably, not bejng patted on the head three times!)
Hi Hanif.
Before you wrote your novels, did you do a lot of research, extensive planning, and know exactly what the plot was (beginning, middle and end) before you started writing?
Thanks
Hi Hanif, I am an unpublished novelist and unknown playwright. Next year I want to either spend time concentrating on finalising my niche horror novel or devote time to getting my play to stage. I think the novel would be the better choice first but my heart draws me to theatre and working with other people. How can I decide so I don’t flutter between the two and end up achieving nothing?
Just been to see The Buddha of Suburbia at the Barbican. What an absolute riot- loved it, and I shall never look at Bromley in the same way. If it's at all autobiographical, was Bromley in the 70s really like that?!
You’ve spoken about how writers should not be afraid of upsetting or embarrassing friends or family. Do you still think this?
Hi Hanif - when you embark on writing a screenplay, where do you begin? The plot trajectory, characters or dialogue? Do you effectively write a short story or a play first? I know each writer/filmmaker finds their own path but I wondered where you start. Your screenplays are standalone literature and I’ve always enjoyed reading them!
Hello Hanif
First thank you for your chronicles, really appreciated. Looking forward to the play too.
(I am not a writer); I was wondering if you feel your thoughts and ways of approaching the world have fundamentally changed since your accident. I had read once that patients whom have experienced a traumatic accident that leaves them disabled often are much the same once they have gone through a mourning period. Do you feel the same?
Dear Hanif, what are your thoughts on writers having to do so much promotion on their releases? In my own experience (and that of writer friends), unless the publisher decides that they want to throw the whole weight of their marketing department behind you, an author is on their own. Any ideas on how to push the publisher for more marketing support?
Thank you for your blog and your candour. I'm looking forward to your memoir. :)
Hi Hanif, Just received my copy of SHATTERED in the States. Thx. Eager to dig in. Question: Is there any way to help get all of your films available in the US? It’s a crime that titles such as BUDDHA, SAMMIE, and others are not available to buy/rent on Apple or any streaming service. Or maybe I’m missing something. Every so often I track them down as bootlegs on Youtube, but that’s not sufficient. Criterion? Can we help in any way? Let’s harness the power of your readership here.
I was at QEH last Thursday and have finished ‘Shattered’. A trivial question, but was David Bowie really as funny, clever and nice as he seemed?
Do you think that your new, more collaborative, method of writing (which has worked so well for Shattered), would also work for a full length work of fiction? Would it make controlling the story threads too difficult to manage? Do you think you would be able to fully know your characters, or is there the danger that you would feel slightly distanced from them?