Writing a novel is actually searching for victims. As I write I keep looking for casualties. The stories uncover the casualties.

I don’t think a novel has a function or a mission such as teaching somebody something. Instead, I think a novelist, by writing a story in the most vivid way, with poetry of language and by sharing it with the public, is willing to discover the truth about the story together with the readers. I have written stories about women suffering during wars and after wars, because I think that no matter who wins or loses, women on both side are the ultimate victims. Their bodies are the last part of a defeated country to be conquered, to be violated. They are the mothers, wives, and daughters of soldiers whose lost lives leave voids in the women’s lives, too deep to be filled.

The truth of a story is what the novelist strives for, and quite often the writer is taken down strange and unexpected paths on this search.

When I first started writing, I was thinking of it as a book about mass incarceration, and mass incarceration is not a plot. It’s not a story. It’s not a character. I was at Harvard doing research on this subject, and I felt like I had a lot of information, but I had not yet found my story because I had to realize that I am a novelist. I’m not a sociologist. I’m not a documentarian. I’m not an ethnographer. And I found the story, actually, through eavesdropping…

A novelist's characters must be with him as he lies down to sleep, and as he wakes from his dreams. He must learn to hate them and to love them.

The central problem of novel-writing is causality.

I would like my readers to levitate when they read the novel. I believe that there is too much violence and coarseness in the world, not just in books, but on television as well. People become degraded when they overuse these things. As I writer, I feel it is my challenge to come up with a phrase that can convey all the anguish a human being feels and to express it in a poetic way. Literature becomes simplistic when two out of every three words are vulgarisms. It requires no effort on the part of the creator or the reader.

When writing a novel a writer should create living people; people not characters. A character is a caricature.

She was trying to write a novel, it was so slow, you had to destroy so much and start again; so hard to discover whether one was really a writer or just a victim of a literary home environment.

Writing a novel is agony.

When writing a novel a writer should create living people; people not characters. A character is a caricature. If a writer can make people live there may be no great characters in his book, but it is possible that his book will remain as a whole; as an entity; as a novel. If the people the writer is making talk of old masters; of music; of modern painting; of letters; or of science then they should talk of those subjects in the novel. If they do not talk of these subjects and the writer makes them talk of them he is a faker, and if he talks about them himself to show how much he knows then he is showing off. No matter how good a phrase or a simile he may have if he puts it in where it is not absolutely necessary and irreplaceable he is spoiling his work for egotism. Prose is architecture, not interior decoration, and the Baroque is over. For a writer to put his own intellectual musings, which he might sell for a low price as essays, into the mouths of artificially constructed characters which are more remunerative when issued as people in a novel is good economics, perhaps, but does not make literature. People in a novel, not skillfully constructed characters, must be projected from the writer’s assimilated experience, from his knowledge, from his head, from his heart and from all there is of him. If he ever has luck as well as seriousness and gets them out entire they will have more than one dimension and they will last a long time. A good writer should know as near everything as possible. Naturally he will not. A great enough writer seems to be born with knowledge. But he really is not; he has only been born with the ability to learn in a quicker ratio to the passage of time than other men and without conscious application, and with an intelligence to accept or reject what is already presented as knowledge. There are some things which cannot be learned quickly and time, which is all we have, must be paid heavily for their acquiring. They are the very simplest thin

The most common human act that writing a novel resembles is lying. The working novelist lies daily, very complexly, and at great length. If not for our excessive vanity and our over-active imaginations, novelists might be unusually difficult to deceive.

Novelists talk about their characters starting to do things they didn’t expect them to. Well, I imagine every writer of biography or history, as well as fiction, has the experience of suddenly seeing a few pieces of the puzzle fit together. The chances of finding a new piece are fairly remote — though I’ve never written a book where I didn’t find something new — but it’s more likely you see something that’s been around a long time that others haven’t seen. Sometimes it derives from your own nature, your own interests. More often, it’s just that nobody bothered to look closely enough.

A novelist's lack of awareness of and critical distance to his own body of work is due to a phenomenon that I have noticed in myself and many others: as soon as it is written, every new book erases the last one, leaving me with the impression that I have forgotten it. I thought I was writing books one after the other in a disjointed way, in successive bouts of oblivion, but often the same faces, the same names, the same places, the same phrases keep coming back in book after book, like patterns on a tapestry woven while half asleep. While half asleep or while daydreaming. A novelist is often a sleepwalker, so steeped is he in what he must write, and it is natural to worry when he crosses the road in case he is run over. Do not forget, though, the extreme precision of sleepwalkers who walk over roofs without ever falling off.