Reading a book, for me at least, is like traveling in someone else's world. If it's a good book, then you feel comfortable and yet anxious to see what's going to happen to you there, what'll be around the next corner. But if it's a lousy book, then it's like going through Secaucus, New Jersey -- it smells and you wish you weren't there, but since you've started the trip, you roll up the windows and breathe through your mouth until you're done.

A short story is a sprint, a novel is a marathon. Sprinters have seconds to get from here to there and then they are finished. Marathoners have to carefully pace themselves so that they don't run out of energy (or in the case of the novelist-- ideas) because they have so far to run. To mix the metaphor, writing a short story is like having a short intense affair, whereas writing a novel is like a long rich marriage.

The future is fastidious and punctual. It keeps perfect time and arrives everywhere on the dot. In contrast, its slacker brother the past has no use for clocks or appointments. It comes and goes as it pleases in our memory, camping out wherever the hell it damn well wants to in there. Untrustworthy, prone to exaggeration, biased- you wouldn't lend it ten cents, but it *sure* can be charming and seductive when it feels like it.

You know people don't get better as we get older- we just get more of who we are.

Death doesn't make you sad- it makes you empty. That's what's so bad about it. All of your charms and beliefs and funny habits fall fast through a big black hole, and suddenly you know they're gone because just as suddenly, there's nothing left at all inside.

There's almost always a point in a book where something happens that triggers the rest of the plot.

The keys that unlock the heart are made of funny materials: a disarming phrase that comes out of the blue, nowhere, a certain sexy walk that sends you reeling, the way someone hums when she is alone. My father said it was the way my mother danced with him.