Truth, at the wrong time, can be dangerous.
You want to suggest something new, but at the same time, resolve the drama of the action in the novel.
You're getting everyone's point of view at the same time, which, for me, is the perfect state for a novel: a cubist state, the cubist novel.
I'm a Canadian citizen. But I always want to feel at home in Sri Lanka. I'm a member of both countries.
It's an odd state to be in, blowing the whistle on your home country.
The last three books are much more a case of a moment of history, what happened almost by accident or coincidence, like being in the same elevator or lifeboat.
It's why you create characters: so you can argue with yourself.
Research can be a big clunker. It's difficult to know how you can make the historical light.
In the book the relationship with Katharine and Almasy is sort of only in the patient's mind.
The past is still, for us, a place that is not safely settled.
I see the poem or the novel ending with an open door.
Right now, I have no idea what I will write or if I will write again.
I don't have a plan for a story when I sit down to write. I would get quite bored carrying it out.
It doubles your perception, to write from the point of view of someone you're not.