“..and how sometimes when she can’t get her clients talking about what happened over there she’ll get a map of the country, an appropriate map for their world, and pinpoint where they last lived, where their family went missing.Sometimes they would be reluctant to talk, but when they saw the map they would point to a place and say, “There. My village,”and that’s how their dialogue would begin. With a sense of place.”

“I would pick them when they bloomed. And when she called me home for supper, I'd place them in her hair and the contrast would take my breath away.”

“All right, silent dark bear with angry frown, tell me more about your land.”He settled back down, picturing it. “I would tend to our land from the moment the sun rose to when it set and then you ...she would tend to me.”He laughed at her expression again. The world of exile camps and the Valley felt very far away, and he wanted to lie there forever.“Let me tell you about your bride,” she said, propping herself up on her elbows.“Both of you would cultivate the land. You would hold the plow, and she would walk alongside you with the ox, coaxing and singing it forward. A stick in her hand, of course, for she would need to keep both the ox and you in line.”“What would we...that is, my bride and I, grow?”“Wheat and barley.”“And marigolds.”Her nose crinkled questioningly.“I would pick them when they bloomed,” he said. “And when she called me home for supper, I’d place them in her hair and the contrast would take my breath away.”“How would she call you? From your cottage? Would she bellow, ‘Finnikin!’?”“I’d teach her the whistle. One for day and one for night.”“Ah, the whistle, of course. I’d forgotten the whistle.”

“There’s a moment in [Anne of Green Gables] where Anne Shirley (great character) […] is in the same classroom as Gilbert Blythe and she hit’s him over the head with a slate, which is their kind of writing tool, and I always say that moment for me was just, I was just absolutely mesmerised. I thought it was so romantic, though she hated his guts. I would always say that in every one of my novels there is a moment where my characters metaphorically hit their potential love interests over the head with a slate. It could be that winning an argument or getting the upper hand, an example in say The Piper’s Son could be here’s Tom thinking it will be easy, text messaging Tara saying ‘How’s it going, babe’ and her response, that for me is the hitting someone over the head with a slate. It happens in Saving Francesca when she kind of meets Will and Will’s such a bastard to her. So they’re moments I kind of adopted and I loved that particular one, so I would say [L.M. Montgomery] was a major influence.”

“Quintana of Charyn's body was a map of hatred.”

“Sometimes Webb believed that he would never experience a better feeling than when he was looking at her, would never see anything or anybody bursting with more life and spirit. Sometimes he felt he needed to inhale it and place it in a storage area in his soul. Just in case. ”

“Tell me about the farm," she pleaded as drops of blood began to appear on her hand. "The farm?""The farm that Finnikin the peasant would have lived on with his bride.""Evanjalin. That was her name. Did I mention that?"She laughed through a sob. "No, you didn't.""They would plant rows upon rows of wheat and barley, and each night they would sit under the stars to admire what they owned. Oh, and they would argue. She believes the money made would be better spent on a horse, and he believes they need a new barn. But then later they would forget all their anger and he would hold her fiercely and never let her go.""And he'd place marigolds in her hair?" she asked. He clasped her hands against his and watched her blood seep through the lines of his skin. "And he would love her until the day he died," he said.”