But I suspect that all writers come up with premises of some kind, fragments of narrative or scenarios, in the course of a working week.

(About Love)The most important thing in life, and you can't tell whether people have it or not. Surely this is wrong? Surely people who are happy should look happy, at all times, no matter how much money they have or how uncomfortable their shoes are or how little their child is sleeping; and people who are doing OK but have still not found their soul-mate should look, I don't know, anxious, like Billy Crystal in When Harry Met Sally; and people who are desperate should wear something, a yellow ribbon maybe, which would allow them to be identified by similar desperate people.

You need as much ballast as possible to stop you from floating away; you need people around you, things going on, otherwise life is like some film where the money ran out, and there are no sets, or locations, or supporting actors, and it's just one bloke on his own staring into the camera with nothing to do and nobody to speak to, and who'd believe in this character then?

I couldn’t bear to think about the proper future, so I just tried to make things better for the next twenty minutes or so, over and over again.

We have one of those conversations where every thing clicks, meshes, corresponds, locks, where even our pauses, even our punctuation marks, seem to be nodding in agreement.

I'm human. That's how humans spend their time, doing shitty things.

When it came down to it, he just wasn't that engaged. You had to be engaged to be a vegetarian; you had to be engaged to sing "Both Sides Now" with your eyes closed; when it came down to it, you had to be engaged to be a mother.