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It's called mind over matter. If we don't mind, it doesn't matter.
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One thing I like about historical fiction is that I'm not constantly focusing on me, or people like me; you're obliged to concentrate on lives that are completely other than your own.
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I would say I have sort of a natural gift for character, and following one person's point of view at a time, and dialogue, but I'm not naturally good at strong plot.
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I read three books a week.
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I think it would be a shame for any writer to let their publishers in any way corral them into a single genre.
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Every parent has those moments where they look at their child and think, 'There's a demon in those eyes and no one can see it but me!'
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'Scared is what you're feeling,' says Ma, 'but brave is what you're doing.'
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I have never been depressed or thrown a plate, which I attribute to the cathartic effects of writing books about people whose lives are more grueling than mine.
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It's painful to consider anything but writing.
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Ah yes, the paradox of publicity is that even as we do it, we know it's killing off the chance of another reader happening across our book in the ideal state of innocence.
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You know the way there are two kinds of actors - the De Niro kind who's always De Niro, and then somebody like Daniel Day-Lewis, who transforms himself eerily? Well, I aim to be the Daniel Day-Lewis kind of writer. I don't have a house style.
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There's no neutral language about travel. Either travel is described in ways that make it sound kind of shallow or just glossy or silly or a way for rich people to spend their time; or else travel is often described in quite derogatory ways, you know, like immigrants swarming across borders, for instance.
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Before I had kids, I thought you should never lie to a kid. But now I've had them, I realize you almost lie to them by definition, because if you're trying to summarize something for your 1-year-old, you put it in very simple terms. You only gradually complicate the explanation as they get older.
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The way to my heart is through Belgian milk chocolate.
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You cannot predict literary success; the only way you can possibly aim for it is to do your thing and do it well.
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I'm not at all snobby about book prizes and how they pollute the world of literature. Just like with the Olympics, a little bit of competition gets people truly engrossed in the business of literature.
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I am clumsy, a late and nervous driver, and despise all sports except a little gentle dancing or yoga.
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Some writers can produce marvelous plots without planning it out, but I can't. In particular I need to know the structure of a novel: what's going to happen in each chapter and each scene.
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Any parent knows how to be the ideal parent.
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I tend to be so lost in the work that I don't notice the weather. My partner will come home and say, 'Beautiful day, wasn't it?' and I'll say, 'Was it?' as I won't have noticed the real world at all.