I say "on principle" [regarding 'lesbian writer'] because whenever you get one of your minority labels applied, like "Irish Writer," "Canadian Writer," "Woman Writer," "Lesbian Writer" - any of those categories - you always slightly wince because you're afraid that people will think that means you're only going to write about Canada or Ireland, you know.
Once I spent a whole day there, a blade of grass in each hand to anchor me to the warm earth. I watched the sun rise, pass over my head and set. Ladybirds mated on my knuckle; a shrew nibbled a hole in my stocking while I tried not to laugh. Such a day was worth any punishment.
Actually,the nightmarish thought occurred to me that with electronic delivery of books becoming a norm, soon writers may be expected to provide several versions of their book, ranging from the Easy to the Complex, and buyers will choose what they're in the mood for with the click of a button! I do hope not;
When I was four I thought everything in TV was just TV, then I was five and Ma unlied about lots of it being pictures of real and Outside being totally real. Now I’m in Outside but it turns out lots of it isn’t real at all.
The film world is far more male-dominated. I mean, the numbers are staggering at the level of how many people on set there are, and almost all the trades in film, there's a lot more men. So I can see without anyone intending to be biased [that] we have kind of a collective choosing of men's stories and a collective of taking men's stories seriously.
I needed to do a lot of saying no. I had a lot of [interest] from people who I just didn't think were quite right for it. And I didn't want a bad film to be made of the book, either a sentimental one or a creepy one, so I did a lot of, "No thank you." Then when the right filmmaker came along, yes, I suppose I presented myself very much as wanting to be the writer.
I'm very keen. Adaptations of other people's work, too. I got fascinated by the adaptation process, so I think that'd be a really interesting task. I would happily write original screenplays as well. I think it's become one of my favorite genres.
The idea was to focus on the primal drama of parenthood: the way from moment to moment you swing from comforter to tormentor, just as kids simultaneously light up our lives and drive us nuts. I was trying to capture that strange, bipolar quality of parenthood. For all that being a parent is normal statistically, it's not normal psychologically. It produces some of the most extreme emotions you'll ever have.
[E]verywhere I'm looking at kids, adults mostly don't seem to like them, not even the parents do. They call the kids gorgeous and so cute, they make the kids do the thing all over again so they can take a photo, but they don't want to actually play with them, they'd rather drink coffee talking to other adults. Sometimes there's a small kid crying and the Ma of it doesn't even hear.
We're standing on the deck that's all wooden like the deck of a ship. There's fuzz on it, little bundles. Grandma says it's some kind of pollen from a tree. "Which one?" I'm staring up at all the differents. "Can't help you there, I'm afraid." In Room we knowed what everything was called but in the world there's so much, persons don't even know the names.
I was not exploiting any real individual's story in writing ROOM, of course I was aware that my novel, by commenting on such situations, would run the risk of falling into those traps of voyeurism, sensationalism and sentimentality.
With a time-based medium like theater or film, you can't have the audience getting restless in their seats. They're stuck there on their bums; you have to pay enormous attention to pace and you can't lose your way.
Now that I've got a way in [to the industry] - because it can feel a bit like, "How can I possibly write a film?" - but now that I've got at least some experience in the film world, I'd absolutely love to do it again.
The Collector [John Fowles book] does such a good job of capturing the mindset of a capturer, and also that's become a banal trope of every second crime novel: the weirdo, fetishistic watcher/stalker/kidnapper/kidnapper of women or children.
Something we do know is that review coverage does go to male authors more than women authors. That's a fact. I think it's one of those examples of unconscious bias: If you hire a lot of male journalists, they're more likely to pick up the latest Ian McEwan novel than the latest A.S. Byatt novel.
Kissing a witch is a perilous business. Everybody knows it's ten times as dangerous as letting her touch your hand, or cut your hair, or steal your shoes. What simpler way is there than a kiss to give power a way into your heart?
At the door, there was one of those moment when two people realize that they like each other more than they know each other. This is nicer than the opposite situation, but more awkward. You try to remember the protocol for touching. You hate to gush, or presume to much, yet you are unwilling to let the moment pass without without some gesture
I was highly aware, in writing [the book]ROOM, that there are unsavoury aspects to our interest in such cases, and I thought it was rather honester to include discussion of media representation in the novel itself than to cling to the high moral ground by merely avoiding scenes of voyeurism, for instance.
There are some tales not for telling, whether because they are too long, too precious, too laughable, too painful, too easy to need telling or too hard to explain. After all, after years and travels my secrets are all I have left to chew on in the night.