Ah yes, the paradox of publicity is that even as we do it, we know it's killing off the chance of another reader happening across our book in the ideal state of innocence.

This is a bad story.”
“Sorry. I’m really sorry. I shouldn’t have told you.”
“No, you should,” I say.
“But—”
“I don’t want there to be bad stories and me not know them.

There's no neutral language about travel. Either travel is described in ways that make it sound kind of shallow or just glossy or silly or a way for rich people to spend their time; or else travel is often described in quite derogatory ways, you know, like immigrants swarming across borders, for instance.

I'm not at all snobby about book prizes and how they pollute the world of literature. Just like with the Olympics, a little bit of competition gets people truly engrossed in the business of literature.

Some writers can produce marvelous plots without planning it out, but I can't. In particular I need to know the structure of a novel: what's going to happen in each chapter and each scene.

You know the way there are two kinds of actors - the De Niro kind who's always De Niro, and then somebody like Daniel Day-Lewis, who transforms himself eerily? Well, I aim to be the Daniel Day-Lewis kind of writer. I don't have a house style.