I needed to do a lot of saying no. I had a lot of [interest] from people who I just didn't think were quite right for it. And I didn't want a bad film to be made of the book, either a sentimental one or a creepy one, so I did a lot of, "No thank you." Then when the right filmmaker came along, yes, I suppose I presented myself very much as wanting to be the writer.

The paradox of publicity is that even as we do it, we know it's killing off the chance of another reader happening across our book in the ideal state of innocence.

I've been writing full-time since I was 23.

I wrote the novel [Room], and then I thought, "This could work on film, and I want to be the one to do it." So I went ahead and drafted it.

Ma's still nodding. "You're the one who matters, though. Just you." I shake my head till it's wobbling because there's no just me.

Maybe I’m a human, but I’m a me-and-Ma as well.

Books are the air I breathe, so I don't notice the seasons.