That's what Archie did - built a house nobody could anticipate a need for, except himself, a house that was invisible to everyone else.

It would be the death of all creativity for me if I had to sit there and be concerned with the sensibilities of a fourteen-year-old kid. Some fourteen-year-olds would revel in the book, and some would be very sensitive to it, so you can't afford to worry about that. What I worry about is good taste and getting my message across by whatever means I can.

There are moments that stop the heart, that catch the breath, that halt the beat of blood in your veins, and you are suspended in time, held between life and death, and you wait for something to bring you back again.

A man I know who writes and aspires to be a novelist does very little reading, and he's not that successful. But I think it's because he's like the kid who wants to be a ballplayer and never goes to the ballpark or tries to hit a ball. So I'd say reading is the most important thing that I do, besides the actual writing. I'm always asking as I read, "How did the writer do this? Why do I suddenly have tears in my eyes? Why am I crying?"

I don't like to think in terms of writing ten or twelve pages a day. Usually I'm writing a scene, and it's always with the idea, "I wonder what is going to happen." Or sometimes I write about something that affected me emotionally the day before and that I don't want to lose. I'm very unorganized at first; but finally it comes into a structure where consciously I'm working on a novel per se.

I had my bully, and it was excruciating. Not only the bully, but the intimidation I felt.

When I write, I never think of segments as chapters; I think of them as scenes. I always visualize them in my mind. Then I try to get the scene down on paper as closely as I can. That's the one thing that readers don't see - what you have in your mind. The reader can only see what you get on the page.