ETGAR KERET

When I say a spoken Hebrew sentence, half of it is like the King James Bible and half of it is a hip-hop lyric. It has a roller-coaster effect.

Before I started to make films, I didn't give much thought to the way the characters were physically positioned in the story world.

I tried once in my life to write a novel. I had written something like 80 pages of it when my laptop got stolen. When I told people this, they acted as if something tragic had happened, but I kind of felt relieved, grateful to the thief who saved me from another year of something that felt more like homework than fun.

My stories are very compact. I want them to say the most complex things in the simplest way.

I see creative-writing classes as some sort of AA meeting. It is more of a support group for people who write than an actual course in which you learn writing skills. This support group is extremely important because there is something very lonely about writing.

What you experience in the army, aged 18 to 21, is what you take through all your life. You cross invisible lines: you shoot someone, get shot, break into people's houses. It's naive to think you won't carry anything into your life.

When I write a story, I have no idea what I'm doing. All I know is that I want to share something with my readers. The whole idea of writing is this place where you lose control, where you're irresponsible - it's a very liberating place.

Being ambivalent doesn't mean that you're a relevatist, that anything goes; it just means that you show the complexity of life. Life is always complex.

Most of the Jewish writer friends I have are American, and I feel closer to them because they're always obsessed with one issue - identity: what does it mean to be an American Jew?

I write in a slangy colloquial speech that has not been common in the Israeli tradition of writing, and that is one of the things that gets lost a little in translation.

Being published in Arabic is a strong and consistent wish I have. I live in the Middle East and want to be in some sort of an unpragmatic dialogue with my neighbors.

I always have a story in my head that needs to be written, or at least I think I do. But I usually can't find the time to write it.

Sometimes, when you are in a really constrained situation, it makes you more focused about what you want to say and where you're heading. The most beautiful love poems that were ever written are sonnets, composed in a very constraining form.

I was first introduced to Kafka's writing during my compulsory army-service basic training. During that period, Kafka's fiction felt hyperrealistic.

I rarely return to characters. My characters, at least most of them, are much more a part of that superorganism that is the story than separate and independent creatures.

When I started writing my stories, I thought that not only nobody outside my language, but nobody outside my neighbourhood would get them.

I don't have Facebook or Twitter accounts yet. Being a compulsive storyteller, I always make up for myself discouraging stories about how such accounts will get me into embarrassing and time-consuming situations.

In Israel, the role of the writer is dictated by the language in which you write. Writers see themselves as cultural prophets.

I have to admit that talking authoritatively about my students' stories can make me feel, at times, like an astronaut who has just landed on a new planet and insists on giving guided tours to its inhabitants.

Writing a story is kind of like surfing, as opposed to the novel, where you use a GPS to get somewhere. With surfing, you kind of jump.

Generally, all my life, I have had strong friction with life - I was a problematic soldier, I was kicked out of the army, I was in fights. There was something about writing that was a way of experimenting with this emotion.

In the army you feel violated - there's no private space. Writing was a life-saver, a way of recovering private territory.

The reason I write is that I'm not in dialogue with my emotions; writing puts me in touch with myself.

In Israel, there is this reduction of the political discourse to something that is very limited. It's as if you have that pitch that only dogs can hear. Sometimes I feel I speak at such a pitch that very few people around me communicate with what I'm saying.

It took a lot to understand that the interest in both writing a story and reading it is not in the objective dangers someone takes. You don't have to fight snakes or wake up in a strange apartment to have a story; it's about what goes on inside your mind and soul.