Also, whenever you have direct speech, and I don't quite know why, but it always gets better in English. Dialogue, the flow of dialogue, English just has a better way with it.

People who have experienced nothing love to tell stories while people who have experienced a great deal suddenly have no stories to tell at all.

When you translate the American writers who are best with dialogue into German - someone like Elmore Leonard, or Tom Wolfe, who's also quite good with dialogue. It's very hard to translate them well.

I think that's just what happens when you write a big bestseller. After that you need to find out: What's the best way to go on? And the worst thing you could do would be to try to repeat the formula. That would be suffocating.

It's also one of these strange points where metaphysics converges with economy. Because really what the experts are doing is creating value by banishing doubt. All great dead painters basically have this one person, this expert who has the metaphysical power to grant a seal of authenticity.

I really just wanted to write about three brothers. When you do that, though, it gives you this wonderful opportunity to tie together different social milieus, because siblings usually move into different worlds as they grow up.

For a while I never show anybody what I'm writing, and during that time I need the feeling that publishing is only an option. I might publish this, I might not. I think if I had to publish it, I might panic.