Nowadays, I only review books I really like. It's cowardly, I know, but I figure it's not my job to make people unhappy. I'll leave that to the professionals.
I hate most people. And I don’t want to, it’s an awful way to be. But the human race gives me no comfort. I find myself turning to books and films for comfort still. It’s repulsive, because one’s life consists of people, not things.
There were many films made for both cinema and television, and in general I don't connect them very much with our books. I have one favorite: 'The Man on the Roof' by director Bo Widerberg, which was based on 'The Abominable Man.'
I never understood the concept of a fluffy summer read. For me, summer reading means beaches, long train rides and layovers in foreign airports. All of which call for escaping into really long books.
Then years back, when I moved to California, I happened to see a book about fashions of 19th-century Victorian England, only four pages of which was devoted to the dress of the working class.
The world is lousy with Arab princes. And if we could have got Osama bin Laden, and saved at some point down the road 3,000 American lives, a few less Arab princes would have been OK in my book.
I want to write a book that makes people debate, and makes people think, interact with each other and exchange ideas... I write because I'm engaged in this big conversation.
What occurs to people when they read Kurt [Vonnegut] is that things are much more up for grabs than they thought they were. The world is a slightly different place just because they read a damn book. Imagine that.
In Endless Quest books, you start the plot, and the character has to make choices. Then you have to write one choice over here, one choice over there. The author might get one or two choices out.
Asking anyone what she or he is reading is a necessary part of conversation, exchanging news. So I take recommendations from friends - and I always pass along a book I've loved.
When you've written 10 books and have six on the New York Times best-seller list - and four have been No. 1 - I think you have a right to be a member of Congress.
I would never write realistic prose. I don't like people who try to write in a poetic style, but in the course of their book abandon it for realism, and weave back and forth like drunkards between the surreal and the real.
I find writing extremely difficult. I usually have to drag myself to my desk, mainly because I doubt myself. And it's getting harder because I want to improve with every book.
I've been reading Tanith Lee since I was a teenager, beginning with 'The Birthgrave' and 'The Storm Lord.' Only recently did I discover, to my delight, how many more of her books I've yet to read.
My husband wrote the story for my first book, but then he didn't want to do that anymore. So if I was going to go on being an illustrator, I had to start writing the stories, too.
I was always determined that one way or another I would force a book on the world, even if I had to resort to writing one about a tabby cat who solves mysteries.
The choices politicians make must be based on values - not an arbitrary, axe-wielding approach to public spending or a dismal exchange between Gordon Brown and David Cameron about percentages that sounds like an argument between different book-keeper...
I think that the practice of writing every day was what made me remember that writing doesn't have anything to do with publishing books. It can be totally separate and private - a comforting thought.
I loved writing a book in which, in some ways, it's very, very classical, and in some ways I'm breaking lots of rules about what you can do and what you can't do.
I've also worked hard portraying an Ireland which is fast disappearing. Ireland was a very depressed and difficult place in the 1980s, and I've tried to include that in the script. I worked really hard to find the heart of the book.
I always wrote little things when I was younger. My first opus was a book of poems put down in a spiral notebook at five or six, handsomely accompanied by crayon illustrations.
