Whenever young writers ask me for advice, I always say you have to be able to take a lot of rejection because, unless you're very lucky, that's what's going to happen.

I think, over the course of one's lifetime, there are always certain core elements that are intriguing to you, and you take different looks as you get older, but it's something you keep coming back to. I've always been interested in the relationship between vulnerability and control. That's something that's a big thing for people, whoever they are, no matter how old you are. I think at different times, you're more aware than others.

I think politics are a part of life, so I have no resistance to it, but it's not something I set out to do.

Most women at retirement have significantly less money than men, and they still get paid less than men. I'm sure that in my reptile brain I'm quite conscious of this.

There isn't going to be anyone to tell you what to do most of the time. It has to be your own decision and you have to learn to trust that, or learn that it's wrong. The hard truth is that there are people who believe they're writers and work hard at it and are sincere about it, but they don't make it. You have to be prepared for that possibility.

He had lunch with Cecilia that afternoon. They ate their corned beef on rye and cream cheese with lox in a diner peopled by waiters who looked like they´d met with utter disappointment and become attached to it.

I think the closest thing I can come to defining what that vital thing is for me - is that there's a sort of soul-quality in writing, if it's any good. It has a spirit or an energy to it that is very integral to who the writer is on a deep level. It's almost a cellular thing. It takes place in the cells of the writing, and it is what makes it alive or not.