I've never shown anybody a draft of anything.

I think making mistakes and discovering them for yourself is of great value, but to have someone else to point out your mistakes is a shortcut of the process.

I began the way nearly everybody I ever heard of - I began writing poetry. And I find that to be quite usual with writers, their trying their hand at poetry.

The point I would make is that the novelist and the historian are seeking the same thing: the truth – not a different truth: the same truth – only they reach it, or try to reach it, by different routes. Whether the event took place in a world now gone to dust, preserved by documents and evaluated by scholarship, or in the imagination, preserved by memory and distilled by the creative process, they both want to tell us how it was: to re-create it, by their separate methods, and make it live again in the world around them.

I used to write sonnets and various things, and moved from there into writing prose, which, incidentally, is a lot more interesting than poetry, including the rhythms of prose.

And I'm a slow writer: five, six hundred words is a good day. That's the reason it took me 20 years to write those million and a half words of the Civil War.

My second book, Follow Me Down had some success, got good critical notices, went into a second printing and things like that, but Shiloh was by far the most successful of those first five novels.