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“I love writing in longhand. Writing in longhand, I think, is a marvelous thing to do for a writer these days. If you have a notebook and a nice pen you can go off somewhere, you can write that's solar powered. You can drop it or get it wet and pretty much all of your work will continue to be there. If you suddenly decide to look up a word or check a reference you will not look up four hours later, blinking, finding yourself somehow in the middle of an Ebay auction you never had any plans to be part of.”

“I used to be a pre-industrial writer: thousands of words in a spurt and then a few days off. But as I get older, I've switched to a mode best described as 'slow and steady wins the race.' Basically, I write during the same four hours every day, after breakfast and the all-important coffee, generally in the same room and wearing the same pajamas.”

“Over the next four days, I want you to write about your deepest emotions and thoughts about the most upsetting experience in your life. Really let go and explore your feelings and thoughts about it. In your writing, you might tie this experience to your childhood, your relationship with your parents, people you have loved or love now or even your career. How is this experience related to who you would like to become, who you have been in the past, or who you are now?.”

“I like things to be orderly. For seven years I ate at Bob's Big Boy. I would go at 2:30, after the lunch rush. I ate a chocolate shake and four, five, six, seven cups of coffee-with lots of sugar. And there's lots of sugar in that chocolate shake. It's a thick shake. In a silver goblet. I would get a rush from all this sugar, and I would get so many ideas! I would write them on these napkins. It was like I had a desk with paper. All I had to do was remember to bring my pen, but a waitress would give me one if I remembered to return it at the end of my stay. I got a lot of ideas at Bob's.”

“My best time to write is right after coffee and breakfast - four eggs because, full disclosure: I'm really a komodo dragon - and that's because then I'm energized but not so awake that the critical voice clicks on, the voice that sometimes says, "Don't write that," or "Man, that sentence is terrible - you should give up and go pet the cats."”

“Fiction is like a spider's web, attached ever so lightly perhaps, but still attached to life at all four corners. Often the attachment is scarcely perceptible; Shakespeare's plays, for instance, seem to hang there complete by themselves. But when the web is pulled askew, hooked up at the edge, torn in the middle, one remembers that these webs are not spun in midair by incorporeal creatures, but are the work of suffering human beings, and are attached to the grossly material things, like health and money and the houses we live in.”

“My father was a writer, so I grew up writing and reading and I was really encouraged by him. I had some sort of gift and when it came time to try to find a publisher I had a little bit of an "in" because I had his agent I could turn to, to at least read my initial offerings when I was about 20. But the only problem was that they were just awful, they were just terrible stories and my agent, who ended up being my agent, was very, very sweet about it, but it took about four years until I actually had something worth trying to sell.”

“There's that lovely thing for the first month or two of writing a new book: OK, I don't know what that character's going to do, but we'll find out later. After about three or four months you come to that bit where you've got to put some plot in before it's too late, and you have to go back and start inserting plot, and, ooh, I've left out the literature, OK, lets put some in.”

“I only choose to write about people who are alive, are extremely powerful and as such have influenced our lives. I try to go behind their constructed myths to find the humanity of the person. It takes me about four years on every book and requires hundreds of interviews so I choose people whose lives I respect and achievements are worth recording.”

“If there's a character type I despise, it's the all-capable, all-knowing, physically perfect protagonist. My idea of hell would be to be trapped in a four-hundred page, first-person, first-tense, running monologue with a character like that. I think writers who produce characters along those lines should graduate from high school and move on.”

“It might be a good idea to have government totally by the people - that each person takes four or five hours of the week doing some kind of government job - in other words, along with what you do you also help maintain the government so no one person has total control - I might go down to an office for four hours and do whatever I'm capable of doing - writing out receipts for food distribution in a certain area - but it's all actually a monstrous secretarial job and that's all I think it should be.”

“I taught elementary school and painted apartments for ten years. Now I write full-time and never have to change a thing I write. Every book comes to me in a flash of inspiration and takes me about two seconds to finish. The longer books, like the Time Warp Trio novels, take a little longer to write - more like four seconds.”

“From a very early age, perhaps the age of five or six, I knew that when I grew up I should be a writer. Between the ages of about seventeen and twenty-four I tried to abandon this idea, but I did so with the consciousness that I was outraging my true nature and that sooner or later I should have to settle down and write books.”

“In my own field, x-ray crystallography, we used to work out the structure of minerals by various dodges which we never bothered to write down, we just used them. Then Linus Pauling came along to the laboratory, saw what we were doing and wrote out what we now call Pauling's Rules. We had all been using Pauling's Rules for about three or four years before Pauling told us what the rules were.”