Author Reflection Quotes

In re-reading 'Presumed Innocent,' the one thing that struck me - and I re-read the book four different times in writing 'Innocent,' interested in different things each time - but I did think there were a couple of extra loops in the plot that I probably didn't need. The other thing that sort of amazed me was how discursive the book was.

I think the further away you get from completing a book, the more responses you see to it from readers, the more your own tastes and opinions shift and the more you start to see things you could have written differently in the detail, or done differently on the broader scale of plot and character.

After so many books and so many years of writing, I have a good idea of my strengths and weaknesses. I love the process of writing and, if I allowed myself, I would write far too much every day. One weakness which I've struggled to overcome is my tendency to having my characters ruminate for pages.

The second half of the '60s really was a kind of learning period, in terms of writing, for me.

I don't often reread my own books, unless I am going into another in the series and need to refresh my mood when originating the concept.

It's not surprising to see in my own work, looking back, and in the work of some of my peers, an attention to family. It's nice to write a book that does tend toward significance and meaning, and where else are you sure of finding it?

'Shadow Hero' was my first superhero story. I don't know why it took so long.

Writing 'Redeployment' shook me in ways I never expected.

I wrote 'Ava Wrestles the Alligator' when I was 22 or 23. These people and that world have been evolving in me for a while. It's such a shift not to be in that world.

'The Woman on the Train' just didn't sound as good. I'll take care next time not to have 'girl' in the title.

My second, third and fourth novels were mistakes, essentially.

I'm perfectly proud of the work I did, looking back at it. I know I've had a bit of a revision since my 'Big Finish' stories came out.

I am not sure I knew what I was doing, writing an "apocalypse" novel, when I started this book. Now that the book is done, I can own that I have in fact written an apocalypse novel, one that speculates on a dark, dark future. Why I did it, I really don't know - every time people read my work they comment on its darkness, its sadness.

I often reread books I have written.

If I were to write Web now, it would be a much, much darker book.

I wrote 'Airborn' after completing three books about bats. I loved my bats, but what a treat it was to write about humans again. They could eat food other than midges and mosquitoes, they wore clothing, they slept in beds - all this struck me as wonderfully novel.

I didn't know at the time I was writing Because of Winn-Dixie where the story came from, but in retrospect I can see that it was a response to a terribly harsh winter here in Minnesota.

I get thousands of letters, and they give me a feeling of how each book is perceived. Often I think I have written about a certain theme, but by reading the letters or reviews, I realise that everybody sees the book differently.

In the later books I am much more at home in the use of language to describe things. I had never thought of that until a critic pointed that out.

One thing I learned is that the park by the river in a recent story, 'Getting Closer,' is the same park by the river that appears for a moment near the end of 'The Eighth Voyage of Sinbad,' a story first published 23 years earlier. This echo at first irritated me, then pleased me deeply.

My first, 'Room on the Roof,' was the longest book I've written.

Most of the complexity of the stories has developed as the stories came along (and may be a product of the principle that "nothing is what it seems"). I did start with some essential ambiguousness in the aliens' motivation and the questions this raises in human minds, which I consider to have been disregarded in Contact (novel and film). That, in part, may be what has delayed the writing of the fifth and sixth novelettes in the series.

If 'Mystery Train' is my Nixon book and 'Lipstick Traces' my Reagan book, 'Invisible Republic' is my Bill Clinton book. I really liked Clinton. He made me proud to be part of this country again. For all of his failings, the way he put all that he'd done in jeopardy, I supported him from beginning to end.

I don't actually think 'The Selfish Gene' is a very good title. I think that's one of my worst titles.

At a Boston signing, someone from the audience asked why I was so obsessed with furniture in my books. The question rattled around in my head. I had no idea that I was obsessed with furniture.