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If I don't write every day for one week or even, frankly, one year, I don't really think too much about that.
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Time is finite and the demands of the imagination and also the demands of the world are infinite, so sort of brokering some kind of agreement between those things is a continual, and for me, and ever-changing challenge.
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A good book is a good book, and there are a lot of different ways to approach writing or reading one.
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The development of the plot of the novel leads to a single point, and it's my opinion that the ending that the novel has, which is a somewhat ambiguous ending, is the only logical ending given the structure of the book as a whole.
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Maybe one of the reasons that I don't ever experience myself as having writer's block is I don't feel that I need to be producing every minute of every day.
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It would have been a hard year if I'd spent it berating myself for not working on the book.
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I may be the person who put "dieselpunk" into the conversation. I have always been a reader who reads in a really broad way. I read genre writers and I read literary fiction and I read books by dead people.
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It's always the case for writers that when there are limitations, you have the opportunity for your creativity really to blossom and to become deeper and fuller and to move in directions that you wouldn't have discovered on your own.
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Historical fiction is a collaboration between the time in which it's written and the time that it's writing about and the far future, when we don't know what people are going to think about yet.
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I'm not for it Brookland and The Testament of Yves Gundron, I'm not against it, I'm just interested in it and how it functions, but I think that, in some senses, in those two novels, that was difficult for people to see.
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I think that we're all always just working on finding how that balance functions for us, given today's circumstances.