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.

The French just said he was a damned nuisance. Or they would have had they the good fortune to speak English. Instead being French they were forced to say it in their own language.

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.

There's nothing so attractive as a blank slate. Take one attractive man, slap on a thick coat of daydream, and voila, the perfect man. With absolutely no resemblance to reality.

I know historians aren't supposed to fall in love with their own theories, but I was head over heels about the notion of an entire band of female French agents, like a nineteenth-century Charlie's Angels. Only better. It made the Pink Carnation's organization look positively humdrum.

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.

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.