Because who can describe that look that triggers the memory of loved ones? Who can anticipate the frown, the smile, or the misplaced lock of hair that sends a swift, undeniable signal from the past? Who can ever estimate the power of association, which is always strongest in moments of love and in memories of death?

It's my experience that very few writers, young or old, are really seeking advice when they give out their work to be read. They want support; they want someone to say, "Good job."

Nothing moves at the Hotel New Hampshire! We're screwed down here-for life!

Along the (writing) way accidents happen, detours get taken... But these are not "divine" accidents; I don't believe in those. I believe you have constructive accidents en route through a novel only because you have mapped a clear way. If you have confidence that you have a clear direction to take, you always have confidence to explore other ways; if they prove to be mere digressions, you'll recognize that and make the necessary revisions. The more you know about a book, the freer you can be to fool around. The less you know, the tighter you get.

I have no respect for the right-to-life position, though I have every respect for an individual who says, "I could never have that procedure, I could never see a film or read a book about that procedure." It doesn't bother me if people feel that way.

The main character and the most important character are not always the same person - you have to know the difference.

Kids are beautiful, man. And they know much more than grownups think they know. Kids are just perfect people until grownups get their hands on them.