I like a lot of Margaret Atwood, I like much of Alice Munro. Again, if you were to ask me about male writers, there's often a novel I admire, but not all of their works.

I feel that these stories are being written to articulate certain confusions and disappointments, and I do mean to shake up the reader, and I do hope they're on target.

I like a lot of Margaret Atwood, I like much of Alice Munro. Again, if you were to ask me about male writers, there's often a novel I admire, but not all of their works.

Much of what happens in Love Always is really from overheard conversations in the Russian Tea Room. It's an improvisation of the way certain Hollywood agents think and talk to each other.

I think I write about things that are mysterious to me.

I could name a few songs and say exactly what summer they came out and what boy I thought I was in love with when I was fourteen years old, but I think that music used to be really more a part of the culture when people went out dancing in a different way than they do now.

While I would agree that I write about serious subjects, and that they're not necessarily the most pleasant subjects or even the most pleasant people, as a writer I just think about the humorous aspects of these things - that's what keeps me going when I'm writing a story.

I don't write about things that I have the answers to or things that are very close to home. It just wouldn't be any adventure. It wouldn't have any vitality.

Well, a few years ago I think I could have given you a more enthusiastic answer about that but in the last few years, for the first time in my life, I really haven't listened to much music. I used to work with music on and now I don't.

Nobody can assume that, to a writer, everything is off-limits.

I don't even correct people when they mispronounce my name now.

I must say also that it's never worked to my disadvantage that I have long, blond hair.

You have to figure out who the right person is to tell the story. And often, people who are very self-aware will only sound as if they are pontificating if they tell the story.

Women are obviously much more discriminated against than men in many ways.

I think that I'm serious, but I don't think that I'm inordinately bleak.

If you could have a book called My Favorite Six Stories, I don't think I'd have trouble doing that.

When I was teaching at Harvard in the 1970s, I went to Project Incorporated in Cambridge and took photography classes. I didn't even know how to aim the camera in those days.

Quite often my narrator or protagonist may be a man, but I'm not sure he's the more interesting character, or if the more complex character isn't the woman.

When I lived in New York, not only did I have safety locks on the door but I had the music going, keeping the city at a distance, trying to find creative time and peace and so forth.

There is some reason, obviously, that you are drawn to your material, but the way in which you explore it might come to be quite different from what you would expect.

It's often been said that I'm an extremely depressing, cynical writer. I've never known what to make of that.

I've been in this business for a long time, and I no longer think that anything that I do by way of clarification is ever going to eradicate the mistakes.

It's gratifying that it does; I love to give readings.

I think almost always that what gets me going with a story is the atmosphere, the visual imagery, and then I people it with characters, not the other way around.

Falling in Place was meant to be very much rooted in a place and time, and music was a part of that.

It's interesting, though, that in daily life, I think of myself as being relatively unobservant.

I've spent my life supporting myself.

Also minimalism is a term that all of us who share so little in common and who are lumped together as minimalists are not terribly happy with.

For a country to have a great writer is like having another government. That's why no regime has ever loved great writers, only minor ones.

I belong to a specific category of writers, those who speak and write in a language different from that of their parents.

I think ethnic and regional labels are insulting to writers and really put restrictions on them. People don't think your work is quite as universal.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

It is certain, indeed, that the sacred writers were apt to make great allowances for people with empty stomachs, and though I am well aware that the present profane ones think this very reprehensible, I venture to agree with the sacred writers.

I have always noticed that in portraits of really great writers the mouth is always firmly closed.

Our job as writers and thinkers in the time is how to bring about the occasions that let people have that first-person experience - or the metaphoric experience that allows them to see human continuity as opposed to total threat, total willingness to do violence.

That has to remain the principal reason for doing it, doesn't it? I know it's possible to write for money, and many very good writers have done so. But for me, it has to remain the principal thing that I actually want to do the writing.

You need the words, you need the script, you need the material, you need the commitment, you need the passion, it's like we depend on writers, we depend on producers, directors depend on us and once things are in the divine order as they happen.

Apart from a few simple principles, the sound and rhythm of English prose seem to me matters where both writers and readers should trust not so much to rules as to their ears.

Remember Graham Green's dictum that childhood is the bank balance of the writer? I think that all writers feel alienated. Most of us go back to an alienated childhood in some way or another. I know that I do.

A writer should get as much education as possible, but just going to school is not enough; if it were, all owners of doctorates would be inspired writers.

There's a certain possessiveness of writers sometimes.

Writers are too neurotic to ever be happy.

I was notified on July 17 to be ready to start August 7 for an October air date. When we reached the screen we did not have a single segment ready. It was done so fast the writers never got a chance to know what it was all about.

There are some fine books and essays about that. Lewis Hyde has written about alcoholism and poets and the role that society gives its writers - encouraging them to die.

What makes me furious, not just because we're in an interview, but I don't like when writers take your words and put them somewhere else, in the wrong context in their own article about you.

Women writers have been told, forever, that our stories were not valuable. Not as valuable as men's stories about wars, business, power.

How some of the writers I come across get through their books without dying of boredom is beyond me.

I love the line of Flaubert about observing things very intensely. I think our duty as writers begins not with our own feelings, but with the powers of observing.

Movies have influenced all writers, not just thriller writers.