First novels are a lot like first children. You lavish all your love and attention on them, but you also make all your rookie mistakes on them. First novels teach you how to write. They are your initial opportunity to put into practice everything you’ve heard about long-haul narrative. They’re your primary attempt at trying to walk in the footsteps of the giant (and not so giant) writers you revere and adore.

I am the outskirts of some non-existent town, the long-winded prologue to an unwritten book. I'm nobody, nobody. I don't know how to feel or think or love. I'm a character in a novel as yet unwritten, hovering in the air and undone before I've even existed, amongst the dreams of someone who never quite managed to breathe life into me.

My protagonists, male and female, are me. And so I must be able to recall exactly what it was like to be five years old, and twelve, and sixteen, and twenty-two, and. . . . For, after all, I am not an isolated fifty-seven years old; I am every other age I have been, one, two, three, four, five, six, seven . . . all the way up to and occasionally beyond my present chronology.

Childhood lays itself out, like a novel, he suggests, complete with central observer, fixed characters, and linear plot. Later, life disperses itself into anecdotes. At twenty-one, it no longer strictly matters whether the author went first to Ireland and then to Spain, or Spain first. And after thirty, he could stitch the pages in backward for all we care.

I had read a Tale of Two Cities and found it up to my standards as a romantic novel. She opened the first page and I heard poetry for the first time in my life...her voice slid in and curved down trough and over the words. She was nearly singing.

When I published my first novel, I was not so clear about what I feel or believe. Through the years, more than 40 years, I developed as a writer, as a feminist, and as a deeply politicized and humanized person. Thanks to my patience and will. Through the years I learned and learned, and I am still learning.

But when I'm thinking about starting a book, I want in those first few pages for the reader to get a good sense of who the main characters are, but also a good sense of the tension or conflict that is going to propel the book forward. So in those first few pages or the first chapter, by the time you get to the end of that chapter, you have a good sense of the characters, and you have a good sense of what is driving them, and what is driving the story. That's what I aim for.

One cannot read a novel without ascribing to the heroine the traits of the one we love.

But how to establish the exact moment in which a story begins? Everything has already begun before, the first line of the first page of every novel refers to something that has already happened outside the book. Or else the real story is the one that begins ten or a hundred pages further on, and everything that precedes it is only a prologue. The lives of individuals of the human race form a constant plot, in which every attempt to isolate one piece of living that has a meaning separate from the rest — for example, the meeting of two people, which will become decisive for both — must bear in mind that each of the two brings with himself a texture of events, environments, other people, and that from the meeting, in turn, other stories will be derived which will break off from their common story.

In fact, while we read a novel, we are insane - bonkers. we believe in the existence of people who aren't there, we hear their voices, we watch the battle of Borodino with them, we may even become Napoleon. Sanity returns (in most cases) when the book is closed.

It would not be a good place for the heroine of a modern novel to stay at. The heroine of a modern novel is always “divinely tall,” and she is ever “drawing herself up to her full height.” At the “Barley Mow” she would bump her head against the ceiling each time she did this.

It's strange because sometimes, I read a book, and I think I am the people in the book.

While we read a novel, we are insane — bonkers. We believe in the existence of people who aren't there, we hear their voices... Sanity returns (in most cases) when the book is closed.

Heroine: girl who is perfectly charming to live with, in a book.