She says nothing at all, but simply stares upward into the dark sky and watches, with sad eyes, the slow dance of the infinite stars.

I was a normal child. Which is to say, I was selfish and I was not entirely convinced of the existence of things that were not me, and I was certain, rock-solid, unshakeably certain, that I was the most important thing in creation. There was nothing that was more important to me than I was.

This is the only country in the world, that worries about what it is. The rest of them know what they are. No one ever needs to go searching for the heart of Norway. Or looks for the soul of Mozambique. They know what they are.

Normally, in anything I do, I'm fairly miserable. I do it, and I get grumpy because there is a huge, vast gulf, this aching disparity, between the platonic ideal of the project that was living in my head, and the small, sad, wizened, shaking, squeaking thing that I actually produce.

"Where do you get your ideas?" That's the one question I'm genuinely sick of being asked, and also genuinely fascinated by. What fascinates me is not that people ask the question, but what kind of answer are they really looking for? Because if I tell them the truth, which is "I make them up," they seem very disappointed. They want to know about the trek I do once a year to the mountain.

But he did not understand the price. Mortals never do. They only see the prize, their heart's desire, their dream... But the price of getting what you want, is getting what you once wanted.

We who make stories know that we tell lies for a living. But they are good lies that say true things, and we owe it to our readers to build them as best we can. Because somewhere out there is someone who needs that story. Someone who will grow up with a different landscape, who without that story will be a different person. And who with that story may have hope, or wisdom, or kindness, or comfort. And that is why we write.