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.
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.
Don’t you understand?” he would say, “You imagine the story better than I remember it.
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 forget this, too: Rumors aren't interested in the unsensational story; rumors don't care what's true.
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.
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.