“You really can’t write well if you’re thinking about what the reviewers might say.”

People should pay more attention. Everyone wants attention, but no one wants to give attention.

I am very interested in loyalty, even if the person to whom one is loyal is flawed, criminal, or otherwise in the wrong.

I liked the fact she understood how we all have little secret habits that seem normal enough to us, but which we know better than to mention out loud.

It annoys the hell out of me when people say, This is the kitchen, and this is the bathroom. What am I, Helen Keller? I mean, it’s pretty obvious when you’re in a kitchen and when you’re not.

It’s my policy not to review funerals.

Sometimes you can do things for others that you can’t do for yourself.

If you don’t write the book you have to write, everything breaks.

A lot of people get flipped out if you’re quiet. They say stuff like, What are you thinking? And if they don’t start interrogating you, they start talking, going on and on about stuff that’s totally irrelevant, and the silence gets so big and loud that it’s scary.

Books tell you more about their owners than the owners do.

The world of Shirley Jackson is eerie and unforgettable.

I’m very interested in compassion – compassion for oneself and others. I write about very complicated characters and experiences and try to do it without judging the character or the action.

I’m nothing you can catch now. I am black powder, I am singe, I am the bomb that bursts the night.

I’d say our ability to supersize emotions are American-made special effects. In European countries, people mostly stay close to home and whatever rage there is simmers under the surface – it’s what made the plays of Shakespeare and Harold Pinter so good.

Was this the big one or was this the small tremor, the warning? Does it get better – does the sensation of being in a dream underwater go away?

The thing I’d really like to see is the old London Bridge, with all the old buildings around it like Shakespeare’s Globe.

It is really only a theory of the aftermath of a bang.

I’m not really a mass market writer.

With Urban Secrets, I just really liked the idea of wandering around chatting to people.

It’s a bubble. It has to have intrinsic value. You have to really stretch your imagination to infer what the intrinsic value of Bitcoin is. I haven’t been able to do it. Maybe somebody else can.

I think the writer’s quite low down in the hierarchy really. But the fact that they took the piss out of Nicholas [Hynter] who, besides being the director, is also director of the National Theatre is, I’d have thought, slightly more risky.

You could then, when you lay that as the groundwork, say, “Here I am. This is what I think. I come in peace.” Then you’re able to push out, to be able to talk about more things. And that’s been a really heartening thing about my life, actually.

I don’t really write plots. I use history as the engine that drives everything.