...with a grief no less sharp for not being intimate with its object.
Twelve years after Robin's death, no one knew any more about how he had ended up hanged from a tree in his own yard than they had on the day it happened.
I suppose the shock of recognition is one of the nastiest shocks of all.
I'm not sure whay I've been drawn to this subject, except that murder is a subject that has always drawn people for as long as people have been telling stories.
It's hard for me to show work while I'm writing, because other people's comments will influence what happens.
But romantic vision can also lead one away from certain very hard, ugly truths about life that are important to know.
Character, to me, is the life's blood of fiction.
Everything takes me longer than I expect. It's the sad truth about life.
Children have very sharp powers of observation - probably sharper than adults - yet at the same time their emotional reactions are murky and much more primitive.
On the other hand, I mean, that is what writers have always been supposed to do, was to rely on their own devices and to - I mean, writing is a lonely business.
Children - if you think back really what it was like to be a child and what it was like to know other children - children lie all the time.
In order for a long piece of work to engage a novelist over an extended period of time, it has to deal with questions that you find very important, that you're trying to work out.
My novels aren't really generated by a single conceptual spark; it's more a process of many different elements that come together unexpectedly over a long period of time.
Taking on challenging projects is the way that one grows and extends one's range as a writer, one's technical command, so I consider the time well-spent.
To really be centered and to really work well and to think about the kinds of things that I need to think about, I need to spend large amounts of time alone.