"Only write what you know" is very good advice. I do my best to stick to it. I wrote about gods and dreams and America because I knew about them. And I wrote about what it's like to wander into Faerie because I knew about that. I wrote about living underneath London because I knew about that too. And I put people into the stories because I knew them: the ones with pumpkins for heads, and the serial killers with eyes for teeth, and the little chocolate people filled with raspberry cream and the rest of them.

When I was young, you know, the first foreign editions that would come in of anything of mine, I'd sit there and look at them as these strange and wonderful artifacts.

You can't run away from home without destroying somebody's world.

The young woman was crying, in the way that grownups cry, keeping it inside as much as they can, and hating it when it still pushes out at the edges, making them ugly and funny-looking on the way.

In the case of 'Ocean at the End of the Lane,' it's a book about helplessness. It's a book about family, it's a book about being 7 in a world of people who are bigger than you, and more dangerous, and stepping into territory that you don't entirely understand.

Adults should not weep, I knew. They did not have mothers who would comfort them.

The best thing about writing fiction is that moment where the story catches fire and comes to life on the page, and suddenly it all makes sense and you know what it's about and why you're doing it and what these people are saying and doing, and you get to feel like both the creator and the audience. Everything is suddenly both obvious and surprising ("but of course that's why he was doing that, and that means that...") and it's magic and wonderful and strange.