I tend to start at 9 o'clock in the morning and write until 3. Those are my best hours. They fit the other rhythms of the world. So I write for six hours, pretty much without any breaks.

My rule has always been, write the next part of the book that you seem to know well. So I won't necessarily write chapter two after chapter one.

I think many years ago I got on a bus in L.A. and drove around to see the stars' homes, but that's the extent of my direct experience in Hollywood.

Sara waited a respectful time, knowing there was nothing she could do to ease the woman's pain. Grief was a place, Sara understood, where a person went alone. It was like a room without doors, and what happened in that room, all the anger and the pain you felt, was meant to stay there, nobody's business but yours.

If you write a good action sequence well in a novel, you're already writing it for film, because the only way to do it well is to use some of the same tricks. They're rhetorical, not visual, but it's the same move.

I tend to start at 9 o'clock in the morning and write until 3. Those are my best hours. They fit the other rhythms of the world. So I write for six hours, pretty much without any breaks.

As long as we remember a person, they're not really gone. Their thoughts, their feelings, their memories, they become a part of us.