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

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.

Arnold Bennett was a writer I admired. He was actually taking notes at his father's deathbed.

The good parts of a book may be only something a writer is lucky enough to overhear or it may be the wreck of his whole damn life and one is as good as the other.

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'm a writer who likes to be influenced.

In relation to a writer, most readers believe in the Double Standard: they may be unfaithful to him as often as they like, but he must never, never be unfaithful to them.

A true critic ought to dwell upon excellencies rather than imperfections, to discover the concealed beauties of a writer, and communicate to the world such things as are worth their observation.

A writer may tell me that he thinks man will ultimately become an ostrich. I cannot properly contradict him.

The most important training, though, is to experience life as a writer, questioning everything, inventing multiple explanations for everything. If you do that, all the other things will come; if you don't, there's no hope for you.

It is not often that someone comes along who is a true friend and a good writer.

Every sentence has a truth waiting at the end of it and the writer learns how to know it when he finally gets there.

It's essential not to have an ideology, not to be a member of a political party. While the writer can have certain political views, he has to be careful not to have his hands tied.

I was never really a writer, I was always more of a performer.

Without books I would not have become a vivacious reader, and if you are not a reader you are not a writer.

Well see, I'm a good enough writer that not everybody in my books talks exactly like I do.

So while it is true that I find really dark stuff funny sometimes, it's also true that as a writer of books I want to have the whole range of human emotions.

Here I am, where I ought to be. A writer must have a place where he or she feels this, a place to love and be irritated with.

Nowadays I'm not even sure if newspapers take into account whether a person is a good writer.

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.

You know, Mamet is not a huge writer of female parts. Most of his movies don't even have women in them, so I'm lucky I'm in it at all.

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.

I am a writer. I could not afford to take 15 months off from my writing career to play detective.