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.

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 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.

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

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

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

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

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

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

I used to feel that if I say something's wrong, I have to say how it could be made right. But what I learned from Kurt Vonnegut was that I could write stories that say I may not have a solution, but this is wrong - that's good enough.