That's the best thing about writing, when you're in that zone, you're porous, ready to absorb the solution.

The true magic of this broken world lay in the ability of the things it contained to vanish, to become so thoroughly lost, that they might never have existed in the first place.

All novels are sequels; influence is bliss.

There's something inherently more appealing about the idea that you could reveal and tell stories about characters over the course of a TV season - 13 or 26 episodes, whatever it might be - than in the course of one two-hour movie. You can do so many more novelistic kinds of things on a TV show - with time, with gradual development of relationships, and so on - than you could possibly do in a movie. And that is very appealing.

Forget about what you are escaping from. Reserve your anxiety for what you are escaping to.

The truth of some promises is not as important as whether or not you can believe in them, with all your heart.

Novelist time is reptile time; novelists tend to be ruminant and brooding, nursers of ancient grievances, second-guessers, Tuesday afternoon quarterbacks, retrospectators, endlessly, like slumping hitters, studying the film of their old whiffs.