I really believed that anything at all was worth writing about if you cared about it enough, and that the best and only necessary justification for writing any particular story was that I cared about it.

I love Japanese design and fabrics. I also love people who make clothes for mass consumption but do it well and cleverly.

Winter in the country is very white. There is black grit on all the shoulders of the roads and on the big mounds from the plows, and all the cars are filthy, but the fields are dazzling and untouched and pristine.

Sense of smell, of course, is only one of those dog qualities that can't be replicated or improved upon. I've been researching dogs in warfare for my book about 'Rin Tin Tin,' and I've read many accounts of their heroics: carrying messages through battle, alerting troops to enemy planes, and even parachuting behind enemy lines.

There's a marvelous sense of mastery that comes with writing a sentence that sounds exactly as you want it to. It's like trying to write a song, making tiny tweaks, reading it out loud, shifting things to make it sound a certain way... Sometimes it feels like digging out of a hole, but sometimes it feels like flying. When it's working and the rhythm's there, it does feel like magic to me.

I once had a boyfriend who couldn't write unless he was wearing a necktie and a dress shirt, which I thought was really weird, because this was a long time ago, and no one I knew ever wore dress shirts, let alone neckties; it was like he was a grown-up reenacter or something.

When we stopped to rest and Tony tried to figure out what was wrong with his compass, I asked him what he thought it was about orchids that seduced humans so completely that they were compelled to steal them and worship them and try to breed new and specific kinds of them and then be willing to wait for nearly a decade for one of them to flower.