“I just make the best book that I can and try to not worry about audience or if it will sell. The odds are against you, so why abuse your talent for the sake of a chimera? The only real pleasure for me in writing comes from pleasing myself. What readers think is interesting and illuminating (and it may even be correct), but that is nothing compared to the excitement of seeing a world develop. Besides, even though I like most individuals I meet, I have a pretty low opinion of people in general. So if I were to write for people in general, I would have to drastically lower my estimation of the intelligence of my reader. Rather than doing that, I write the way it seems the book has to appear. I don’t think that’s egotistic. There are often things I would like to include in my books—things about me personally and other materials—that I feel I have to leave out because they aren’t relevant to the book. I’m fairly ruthless along those lines, because I try to let nothing come in the way of what’s best for the book. If that means that the book won’t sell or that a publisher won’t buy it, then that’s my problem. I’ll suffer for that, but I won’t let the book suffer for it.”

“I think about the reader. I care about the reader. Not “audience.” Not “readership.” Just the reader. That one person, alone in a room, whose time I’m asking for. I want my books to be worth the reader’s time, and that’s why I don’t publish the books I’ve written that don’t meet this criterion, and why I don’t publish the books I do until they’re ready. The novels I love are novels I live for. They make me feel smarter, more alive, more tender toward the world. I hope, with my own books, to transmit that same experience, to pass it on as best I can.”

“If I write a book I do it mostly for myself for the child in me and for the adult in me. The criterion for my children’s books is: If I were a child would I like it That’s very egotistical but it’s the same thing with my books for adults. I wouldn’t do a book if I didn’t want to partake and share. With a book I can do both: I give and I share.”

“It’s my job really, to help you, my reader, in accepting things as real that aren’t. Most books try to get you to accept things that, at the very least, could be real – and that’s difficult enough, goodness knows – but here, in this book, nothing seems to be even trying to be real. Except, I would say, me. I’m here, I’m real. And to be honest, I’ve never been here before. I don’t know where I am, I don’t know what I’m doing. In some ways, I’m afraid this is the most real story I’ve ever written.”

“If you’re looking for lollipops and rainbows while you shop for the latest best seller, you best not come to me. I won’t chat you up and tell you how cute your kid is. I won’t smile and flirt. I won’t stroke your ego about the jewelry you are wearing or the shirt you have on. I will help you find what you need. I will recommend books and hell I even talk about what I liked about one book over another but all that other shit is just not my thing.”

“(In reply to the question, 'Would you like some suggestions for a plot for your next book?')There are three problems with getting plot suggestions from other people. The first is that ideas are the easy part of writing; finding the time and energy to get them down on paper is the hard part. I have plenty of ideas already. Which brings me to the second problem: the ideas that excite you, the ones you think would make a terrific book, are not necessarily the same ideas that excite me. And if a writer isn't excited about an idea, she generally doesn't turn out a terrific book, even if the idea is terrific. And the third problem with my using your suggestions is that, theoretically, you could sue me if I did, and that tends to make publishers nervous, which makes it hard to sell a book. So thank you, but no.”