Writing a novel is actually searching for victims. As I write I keep looking for casualties. The stories uncover the casualties.
I've always been a fan of the 19th century novel, of the novel that is plotted, character-driven, and where the passage of time is almost as central to the novel as a major minor character, the passage of time and its effect on the characters in the story.
Sometimes that's a year, sometimes it's 18 months, where all I'm doing is taking notes. I'm reconstructing the story from the back to the front so that I know where the front is.
I have always believed that, in a story, if something traumatic or calamitous enough happens to a kid at a formative age, that will make him or her the adult they become.
I'm a worst-case scenario person. I'm only interested in a story because I kind of go, like a magnet, to the worst thing that can happen.
Don't forget this, too: Rumors aren't interested in the unsensational story; rumors don't care what's true.
When I finally write the first sentence, I want to know everything that happens, so that I am not inventing the story as I write it - rather, I am remembering a story that has already happened.
Don’t you understand?” he would say, “You imagine the story better than I remember it.
Know the story before you fall in love with your first sentence. If you don’t know the story before you begin the story, what kind of a storyteller are you? Just an ordinary kind, just a mediocre kind – making it up as you go along, like a common liar.