“In the middle of a novel, a kind of magical thinking takes over. To clarify, the middle of the novel may not happen in the actual geographical centre of the novel. By middle of the novel I mean whatever page you are on when you stop being part of your household and your family and your partner and children and food shopping and dog feeding and reading the post—I mean when there is nothing in the world except your book, and even as your wife tells you she’s sleeping with your brother her face is a gigantic semi-colon, her arms are parentheses and you are wondering whether rummage is a better verb than rifle. The middle of a novel is a state of mind. Strange things happen in it. Time collapses.”

“I probably reread novels more often than I read new ones. The novel form is made for rereading. Novels are by their nature too long, too baggy, too full of things – you can't hold them completely in your mind. This isn't a flaw – it's part of the novel's richness: its length, multiplicity of aspects, and shapelessness resemble the length and shapelessness of life itself. By the time you reach the end of the novel you will have forgotten the beginning and much of what happens in between: not the main outlines but the fine work, the detail and the music of the sentences – the particular words, through which the novel has its life. You think you know a novel so well that there must be nothing left in it to discover but the last time I reread Emma I found a little shepherd boy, brought into the parlour to sing for Harriet when she's staying with the Martin family. I'm sure he was never in the book before.”

“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.”

“Reading a book is like re-writing it for yourself. You bring to a novel, anything you read, all your experience of the world. You bring your history and you read it in your own terms.”

“The major difference between a relationship and a novel draft is that you hae control over your novel's outcome.”

“Authors often say that their novels are like their children, and you want your novel, just like your children, to reflect well on you. When it goes out into the world, you hope that it will make you proud. But like a parent, an author must learn that her novel has needs of its own, and they are not the same as the author's. Yes, you want your son's behavior toward women to reflect a loving relationship with his mother. However, if a woman is compelled to think about that relationship whenever they're in bed together, something has gone very very wrong.”