Every good writer I know needs to go into some deep, quiet place to do work that is fully imagined. And what the Internet brings is lots of vulgar data. It is the antithesis of the imagination. It leaves nothing to the imagination.

When I'm writing I don't want anyone else in the room - including myself.

It's doubtful that anyone with an internet connection at his workplace is writing good fiction.

Plato laments the decline of the oral tradition and the atrophy of memory which writing induces, I at the other end of the Age of the Written Word am impressed by the sturdiness and reliability of words on paper... The will to record indelibly, to set down stories in permanent words, seems to me akin to the conviction that we are larger than our biologies.

The reader is a friend, not an adversary, not a spectator.

I try to write things that can't be made into movies. My novels have thwarted many attempts to film them and I think that was true of the essay, too. If you'd actually tried to be true to the essay, it would have been, perhaps, boring. So taking that narrow little cast of characters and expanding it out, that was what was exciting about the project for me.

Interesting verbs are seldom very interesting.

The place of stillness that you have to go to to write, but also to read seriously, is the point where you can actually make responsible decisions, where you can actually engage productively with an otherwise scary and unmanageable world.

Expecting a novel to bear the weight of our whole disturbed society—to help solve our contemporary problems—seems to me a peculiarly American delusion. To write sentences of such authenticity that refuge can be taken in them: isn't this enough? Isn't it a lot?