“It [fiction] allows us to see the world from the point of view of someone else and there has been quite a lot of neurological research that shows reading novels is actually good for you. It embeds you in society and makes you think about other people. People are certainly better at all sorts of things if they can hold a novel in their heads. It is quite a skill, but if you can't do it then you're missing out on something in life. I think you can tell, when you meet someone, whether they read novels or not. There is some little hollowness if they don't.”

“I think you can tell when you meet someone whether they read novels. There's some hollowness if they don't.”

“If you don't say anything it can't become important, but if you say it everyone's ever after got to walk round it like a pile of rocks in the living room.”

“If you don't like my book, write your own. If you don't think you can write a novel, that ought to tell you something. If you think you can, do. No excuses. If you still don't like my novel, find a book you do like. Life is too short to be miserable. If you do like my novels, I commend your good taste.”

“Anthony took the pipe out of his mouth and smiled at her. "Sorry, dear! You know I don't mean to get like this, but I can't help it. What you want me to tell you is what I'm thinking, but I can't, because I don't know. Now, now, that's not clever, it's purely a statement of fact. We've been married quite long enough for you to know me by this tim, but you never seem to have understood properly what a tidy mind I've got. That, you know, is really why I'm always getting mixed up in this 'finding-out' business. When I see a thing all unreasonable and all at loose ends, I just have to see whether I can't straighten it out, and it's the same with my own thinking. When my own thinking's just a mess, it isn't tidy, and therefore I won't let it release its untidiness onto the world. I have to get it nicely rearranged and sorted before I can really talk.”

“This is the thing that takes me longest of all when I'm beginning a novel, to work out what the limits are, what the powers of the narrator will be, what is the appropriate tone to take. And where do I see things from: am I watching this, as it were, from stage right or stage left? That makes a difference. Mike Alfreds is an English director who has a company called Shared Experience. They do a lot of adaptations of novels. He's discovered that when they use a narrator, if they put the narrator stage right, the audience perceives the narrator as being somehow involved, warm, part of what's going on. If he puts the narrator stage left, the audience feels the narrator to be critical, detached....Ever since then, I have to say, whenever I do a conversation with someone on the stage, I take care to be stage right. But that's an aspect of where you're seeing it from, you see, whether the narrator is viewing the characters, as it were, sympathetically or, as it were, critically. This takes a while to discover for each book.”

“It was a shocking thing to say and I knew it was a shocking thing to say. But no one has the right to live without being shocked. No one has the right to spend their life without being offended. Nobody has to read this book. Nobody has to pick it up. Nobody has to open it. And if you open it and read it, you don't have to like it. And if you read it and you dislike it, you don't have to remain silent about it. You can write to me, you can complain about it, you can write to the publisher, you can write to the papers, you can write your own book. You can do all those things, but there your rights stop. No one has the right to stop me writing this book. No one has the right to stop it being published, or sold, or bought, or read.”