Old books exert a strange fascination for me -- their smell, their feel, their history; wondering who might have owned them, how they lived, what they felt.

Tell them I have the headache--no, the plague! I need something nice and contagious.

I love the sound of words, the feel of them, the flow of them. I love the challenge of finding just that perfect combination of words to describe a curl of the lip, a tilt of the chin, a change in the atmosphere. Done well, novel-writing can combine lyricism with practicality in a way that makes one think of grand tapestries, both functional and beautiful. Fifty years from now, I imagine I’ll still be questing after just that right combination of words.

They were close enough that he could feel the hurried beat of her heart. He could feel Charlotte's indecision in every word she didn't say and every move she didn't make. She was tense with uncertainty, quivering with irresolution. She might not be leaning into him, but she wasn't pulling away, either.

It was the usual sort of academic battle: footnotes at ten paces, bolstered by snide articles in academic journals and lots of sniping about methodology, a thrust and parry of source and countersource. My sources had to be better.

But that initial, comet-blazing-across-the-sky, Big Idea is only the beginning. Each book is composed of a mosaic of thousands of little ideas, ideas that invariably come to me at two in the morning when my alarm is set for seven.

There is, I have heard, a little thing called sunrise, in which the sun reverses the process we all viewed the night before. You might assume such a thing as mythical as those beasts that guard the corners of the earth, but I have it on the finest authority, and have, indeed, from time to time, regarded it with my own eyes.