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

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.

We used to think that revolutions are the cause of change. Actually it is the other way around: change prepares the ground for revolution.

I must stress here the point that I appreciate clarity, order, meaning, structure, rationality: they are necessary to whatever provisional stability we have, and they can be the agents of gradual and successful change.

Excuses change nothing, but make everyone feel better.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

I wouldn't change Buffy for anything and I wouldn't change the course in which she has evolved but it is nice to be able to do something that is a little different.

For example, UNICEF works with governments to change legislation such as in India where a law was passed raising the age of compulsory school completion to keep children in school and away from the workplace for longer.

Great joy, especially after a sudden change of circumstances, is apt to be silent, and dwells rather in the heart than on the tongue.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

Don't knock the weather; nine-tenths of the people couldn't start a conversation if it didn't change once in a while.

You don't have to be the Dalai Lama to tell people that life's about change.

I knew that my staying up would not change the election result if I were defeated, while if elected I had a hard day ahead of me. So I thought a night's rest was best in any event.

It will always be a battle a day between those who want maximum change and those who want to maintain the status quo.

Being a father, well, I don't know if this is a change, but it makes me want to get out of here faster. Get off the clock. Just 'cause the baby is my reason for living, my reason for coming to work.

A liberal knows that the only certainty in this life is change but believes that the change can be directed toward a constructive end.

I was born not knowing and have had only a little time to change that here and there.