It's just a weird idea to me because each book is a complete universe unto itself, so why would I want this other universe from this other galaxy that has nothing to do with mine? That's how I really feel about it. Let's be honest - I'm still the writer, so certain things will be common denominators. But that I just want to keep natural and not studied.

When I'm describing wartime activities or violence I don't want to be too ornate, to prettify the picture. Once we trace them to the present, the prose becomes denser.

Historical novels are about costumery. I think that's the magic and mystery of fiction. I don't want to write historical fiction but I do want the story to have the feel of history. There's a difference.

As for what's the most challenging aspect of teaching, it's convincing younger writers of the importance of reading widely and passionately.

And it occurred to me that in this new millennial life of instant and ubiquitous connection, you don't in fact communicate so much as leave messages for one another, these odd improvisational performances, often sorry bits and samplings of ourselves that can't help but seem out of context. And then when you do finally reach someone, everyone's so out of practice or too hopeful or else embittered that you wonder if it would be better not to attempt contact at all.

I try to be aware of what I'm concerned about, aware of how I feel about myself in the world, aware of how I feel about the issues of the day, but I guess I don't want to write essays in my head about my craft and maybe it's because I teach and talk about craft of other writers as a reader. I feel the moment I start doing that is when it's going to kill me.

Do not discount the psychic warmth of the hive.