I rather like getting away from fiction.

I do like to embed a fictional character firmly in an occupation.

I didn't want it to be a book that made pronouncements.

I'm intrigued by the way in which physical appearance can often direct a person's life; things happen differently for a beautiful woman than for a plain one.

Deep down I have this atavistic feeling that really I should be in the country.

Every novel generates its own climate, when you get going.

The Photograph is concerned with the power that the past has to interfere with the present: the time bomb in the cupboard.

I have long been interested in landscape history, and when younger and more robust I used to do much tramping of the English landscape in search of ancient field systems, drove roads, indications of prehistoric settlement.

Since then, I have just read and read - but, that said, I suppose there is a raft of writers to whom I return again and again, not so much because I want to write like them, even if I were capable of it, but simply for a sort of stylistic shot in the arm.

We read Greek and Norse mythology until it came out of our ears. And the Bible.

I didn't write anything until I was well over 30.

I'm now an agnostic but I grew up on the King James version, which I'm eternally grateful for.

I'm writing another novel and I know what I'm going to do after, which may be something more like this again, maybe some strange mixture of fiction and non-fiction.

It seems to me that everything that happens to us is a disconcerting mix of choice and contingency.

You learn a lot, writing fiction.

I've always been fascinated by the operation of memory - the way in which it is not linear but fragmented, and its ambivalence.

We make choices but are constantly foiled by happenstance.

Getting to know someone else involves curiosity about where they have come from, who they are.

I didn't think I had anything particular to say, but I thought I might have something to say to children.

It was a combination of an intense interest in children's literature, which I've always had, and the feeling that I'd just have a go and see if I could do it.

We all need a past - that's where our sense of identity comes from.

Conventional forms of narrative allow for different points of view, but for this book I wanted a structure whereby each of the main characters contributed a distinctive version of the story.

The pleasure of writing fiction is that you are always spotting some new approach, an alternative way of telling a story and manipulating characters; the novel is such a wonderfully flexible form.

There's a preoccupation with memory and the operation of memory and a rather rapacious interest in history.

I'm not an historian and I'm not wanting to write about how I perceive the social change over the century as a historian, but as somebody who's walked through it and whose life has been dictated by it too, as all our lives are.

I can walk about London and see a society that seems an absolutely revolutionary change from the 1950s, that seems completely and utterly different, and then I can pick up on something where you suddenly see that it's not.

The present hardly exists, after all-it becomes the past even as it happens. A tricky medium, time - and central to the concerns of fiction.

I have had to empty two family homes during the last few years - first, the house that had been my grandmother's since 1923, and then my own country home, which we had lived in for over twenty years.

I rather like getting away from fiction.

I'm not an historian but I can get interested - obsessively interested - with any aspect of the past, whether it's palaeontology or archaeology or the very recent past.

Equally, we require a collective past - hence the endless reinterpretations of history, frequently to suit the perceptions of the present.

All I know for certain is that reading is of the most intense importance to me; if I were not able to read, to revisit old favorites and experiment with names new to me, I would be starved - probably too starved to go on writing myself.

The consideration of change over the century is about loss, though I think that social change is gain rather than loss.

Every novel generates its own climate, when you get going.

I don't really have special rituals, but I don't try to write fiction unless I have a minimum of a few hours. For me, it takes a while to settle into a mode where I'm truly concentrating.

The fact that it's science fiction gives you the license to do anything you want to do.

For someone who writes fiction, in order to activate the imagination and the unconscious, it's essential to be free.

Fiction came quite a while later. I began with short stories and fiction for children.

Mr. Henry James writes fiction as if it were a painful duty.

I'd have been a filmmaker or a cartoonist or something else which extended from the visual arts into the making of narratives if I hadn't been able to shift into fiction.

For truth is always strange; stranger than fiction.

We were given clear concrete tools. The course did a great job demystifying the art of fiction writing and fostering confidence. The instructor brought complex concepts down to earth. I will miss coming here every week.

The biographies and autobiographies are on the whole more impressive than the fiction of the last two decades, but the freakish best sellers among them are least likely to withstand the test of time.

I have never been a critic of science fiction as a whole.

Fiction was invented the day Jonas arrived home and told his wife that he was three days late because he had been swallowed by a whale.

I think if I had been writing fiction, where the work is entirely dependent on the writer's creativity and the potential directions the narrative might take are infinite, I might have frozen.

I have always loved science fiction. One of my favorite shows is 'Star Trek.' I like the trips, where it drops my mind off, because they give you a premise and all of a sudden, you say, 'Oh!' and I'm fascinated by it.

I spent several years acquiring the obsessive, day-to-day discipline that's needed if you want to write professionally, then several more, highly valuable years studying fiction writing at the University of Iowa.

For people who have no critical acumen, a state is a mythical entity, for those who think critically it is a rational fiction, created by man in order to facilitate human coexistence.