I wrote a comedy, which hopefully [Rick director] Curtiss Clayton will bring to the screen, that I thought was the antithesis of all my work. I thought it was light and sunshiny, and Mr. Clayton reminded me that it is the story of a woman kidnapped and forced to do things against her will, which is not what most people think of as light and sunshiny.

We weren't friends[...]We were more like jigsaw pieces, each of us part of the same big picture. There are people like this wherever you go. They are part of the same mystery as you are, but you can't quite tell how you fit together. The world is a puzzle, and we can't solve it alone.

The idea that the curtain rises on what is often more or less a happy scene, and it will fall just a few hours later, and everyone will be dead or have gone mad... I find that kind of narrative very appealing.

Anyone who knew Violet well could tell she was thinking hard, because her long hair was tied up in a ribbon to keep it out of her eyes. Violet had a real knack for inventing and building strange devices, so her brain was often filled with images of pulleys, levers, and gears, and she never wanted to be distracted by something as trivial as her hair.

It is very frustrating not to be understood in this world. If you say one thing and keep being told that you mean something else, it can make you want to scream. But somewhere in the world there is a place for all of us, whether you are an electric form of decoration, peppermint-scented sweet, a source of timber, or a potato pancake.

Every new promise was like something heavy I had to carry, with no place to put anything down.

If only Uncle Monty knew what we know," Violet said, "and Stephano knew that he knew what we know. But Uncle Monty doesn't know what we know, and Stephano knows that he doesn't know what we know." "I know," Klause said. "I know you know," Violet said