Donna Tartt Quotes
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Taking on challenging projects is the way that one grows and extends one's range as a writer, one's technical command, so I consider the time well-spent.
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You are - all your experience just kind of accumulates, and the novel takes a richness of its own simply because it has the weight of all those years that one's put into it.
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I think it's hard to write about children and to have an idea of innocence.
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The novel is about five students of classics who are studying with a classics professor, and they take the ideas of the things that they're learning from him a bit too seriously, with terrible consequences.
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I believe, in a funny way, the job of the novelist is to be out there on the fringes and speaking for an experience that has not really been spoken for.
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My novels aren't really generated by a single conceptual spark; it's more a process of many different elements that come together unexpectedly over a long period of time.
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To really be centered and to really work well and to think about the kinds of things that I need to think about, I need to spend large amounts of time alone.
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The Little Friend is a long book. It's also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story.
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Children have very sharp powers of observation - probably sharper than adults - yet at the same time their emotional reactions are murky and much more primitive.
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But it's for every writer to decide his own pace, and the pace varies with the writer and the work.
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It's hard for me to show work while I'm writing, because other people's comments will influence what happens.
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Well, I think storytellers have always found murder a fascinating device.
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Well, I do have some maiden aunts that are not quite like the aunts in the book, but I definitely do have a couple of them, and a couple of old aunties.
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But romantic vision can also lead one away from certain very hard, ugly truths about life that are important to know.
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When I'm writing, I am concentrating almost wholly on concrete detail: the color a room is painted, the way a drop of water rolls off a wet leaf after a rain.
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Character, to me, is the life's blood of fiction.
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Storytelling and elegant style don't always go hand in hand.
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I'm not sure whay I've been drawn to this subject, except that murder is a subject that has always drawn people for as long as people have been telling stories.
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There's an expectation these days that novels - like any other consumer product - should be made on a production line, with one dropping from the conveyor belt every couple of years.
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Children love secret club houses. They love secrecy even when there's no need for secrecy.
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In order for a long piece of work to engage a novelist over an extended period of time, it has to deal with questions that you find very important, that you're trying to work out.
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I've written only two novels, but they're both long ones, and they each took a decade to write.
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The books I loved in childhood - the first loves - I've read so often that I've internalized them in some really essential way: they are more inside me now than out.
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On the other hand, I mean, that is what writers have always been supposed to do, was to rely on their own devices and to - I mean, writing is a lonely business.