The very genetic determinism I posited in World's End as a way of shaking off my inherited demons is being proven in fact as we map out the human genome.

Nothing moves around, it just goes straight from the start to the end. The final draft on the final day, that's it, same for the novels. What I turn in is what you see. There are some exceptions, but almost always I can see exactly what it's going to be.

A glad zest and hopefulness might be inspired even in the most jaded and ennui-cursed, were there in our homes such simple, truthful natures as that of my heroine, and it is in the sphere of quiet homes-not elsewhere-I believe that a woman can best rule and save the world.

First you have nothing, and then, astonishingly, after ripping out your brain and your heart and betraying your friends and ex-lovers and dreaming like a zombie over the page till you can't see or hear or smell or taste, you have something.

Music is, by far, the best art. Nothing even comes close. It's so immediate and emotional. In writing, maybe ninety percent of it is the unconscious and ten percent is control. In music, I think it's probably more like ninety-nine percent the unconscious. It's just a beautiful thing happening through you. And so, too, is writing a great story.

I don't know who they are[my characters] . They're entirely invented characters. Maybe that's how I've been able to write so many books, because there are no boundaries for me. I can write a completely fantastical story like "Swept Away" or "Blinded by the Light" and then a non-comic drama like "Chicxulub" or something like "Birnam Wood" that has autobiographical underpinnings. Why not?

If you focus on literature through only one small element of it, like the more scientific element of linguistics, then where is the joy that brought us literature in the first place, which is to have a story?