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“The single most important technique for making progress is to write ten words. Doesn't matter if you're badly stuck, or your day is completely jam-packed, or you're away from your computer - carry a small paper notebook and write a sentence of description while you're waiting on line at a coffee shop. I think of this as baiting a hook. Even if you have a few days in a row where nothing comes except those ten words, I find that as long as you have to think about the novel enough to write ten words, the chances are that more will come.”

“The latest gorgeous entry in the Belknap Press' growing library of annotated Jane Austen novels arrives, this time the mighty Emma under the exactingly careful guidance of Bharat Tandon of the University of East Anglia. Belknap has once again done its end of the job superbly: the book is a physical treat-luxuriantly over-sized, heavy with quality paper and solid binding, decked out in a beautiful cover and dozens of well-chosen illustrations throughout. This is one of the prettiest Jane Austen volumes available in bookstoresthis season.”

“It has been the sad experience of many that much of the best and the most beautiful is lost to those whose mental food consists exclusively of the sensational paper or the cheap novel, or of that frothy mass of waste material which is thrown up like scum upon the molten metal of life--novelettes, serials, and fragments of a type which neither teach the ignorant, nor strengthen the weak, nor develop the immature.”

“I do not begin my novel at the beginning, I do not reach chapter three before I reach chapter four, I do not go dutifully from one page to the next, in consecutive order; no, I pick out a bit here and a bit there, till I have filled all the gaps on paper. This is why I like writing my stories and novels on index cards, numbering them later when the whole set is complete. Every card is rewritten many times.”

“After the first shock of recognition - a sudden sense of "this is what I'm going to write" - the novel starts to breed by itself; the process goes on solely in the mind, not on paper. I feel a kind of gentle development, an uncurling inside, and I know that the details are there already, that in fact I would see them plainly if I looked closer, but I prefer to wait until what is loosely called inspiration has completed the task for me.”

“I write all of my novels and stories, as you have seen, in a great surge of delightful passion. Only recently, glancing at the novel, I realized that Montag is named after a paper manufacturing company. And Faber, of course, is a maker of pencils! What a sly thing my subconscious was, to name them thus. And not tell me!”

“In terms of the economics, yes obviously the rise of e-books and how people choose to read books has a big effect on the economics of the game. But whether people are buying them on paper or downloading them there's still some poor wretch in a room who is trying to write a poem, write a story, write a novel. And so my job doesn't change. It's just how people receive it and economic conditions on the ground change, but that doesn't affect what I write.”

“One thing should be put firmly. Where people have commented on that novel [The Paper Men], they generally criticize the poor academic, Rick L. Tucker, who is savaged by the author, Wilfred Barclay. I don't think people have noticed that I have been far ruder about Barclay than I have been about Tucker. Tucker is a fool, but Barclay is a swine. The author really gets his come-uppance.”

“Even my novels offer passages in which the major character is imagined as a writer. In Joss and Gold, Li An is a business writer who edits her company's weekly public relations magazine. And in Sister Swing, Suyin writes human interest stories for a free, local community paper, The Asian Time.”