Sefi Atta (born 1964) is a prize-winning Nigerian author and playwright.
I don't remember being a keen reader, but apparently I was. My aunt told me that whenever I was teased for reading, I would say, "To each his own. "
I don't write non-fiction because I get bored. Some of my writing is autobiographical, but not the way readers imagine. I use my memory of settings, events and people. I weave history into my stories, but my narratives are made up.
I get stage fright with short stories. For me it feels like standup comedy: kill or die. I'm more confident when I begin a novel because I know I have space to fail.
I have to say that writing about my writing process is more daunting than writing non-fiction.
I'm addicted to writing.
've had notebooks, but they are nondescript. All I care about is that they fit in my hand. I scribble down ideas. The problem is my best ideas come while I'm driving or showering.
I don't have much of an imagination, but I have a mind bank of details, which I play with. It's how I daydream, so writing like that is natural for me.
I enjoy writing plays most. I haven't written a radio play in a while and I don't write short stories anymore because the process of submitting them depressed me. I really enjoy revising novels, but drafting them can be a pain.
I had stopped writing plays set in villages because they were not relevant to my experiences and I knew my English classmates wouldn't appreciate them.
I read Macbeth as a secondary student in Nigeria and it was like an African play to me. It had all the right elements - witches, kings and assassinations.
I'm disciplined about writing. I get up every day knowing I have to produce work. I'm less concerned about other aspects of the job, such as the prizes and promotions. Promoting my work can be awkward, unless I feel sociable enough. Prizes encourage me to work harder on my next project.
I'm always working on something new and while I'm working, I'm absorbed with my characters, their conflicts,my language and settings. I'm in another place and it is a shock to come out and consider my previous works.
For all forms, writing dialogue is almost like writing music. I pay close attention to rhythms and tones.
I always begin [a novel] with outlines, but they change and so do my endings and beginnings.
You don't need attention to write. All you need is passion for your work and an overwhelming desire to tell a story you genuinely care about. Readers can sense your sincerity and it separates you from pretenders.
I never wanted to be a writer; I just had stories I needed to tell.
I can't say L'Etranger influenced me to write, but for the first time I considered the possibility of telling a story that resembled my own experiences in my own voice.
I was my class playwright and I wrote plays set in villages with kings and chiefs. My plays were about treason and betrayals. If they were influenced by Macbeth, they were also influenced by Nigerian plays I had seen and Village Headmaster, a television drama series I had watched as a child.