Top 93 Quotes & Sayings by Kate Atkinson
Explore popular quotes and sayings by an English author Kate Atkinson.
Last updated on September 17, 2024.
I've always loved mysteries, the something there that you didn't know, and with 'Case Histories' I just decide to make that more up-front.
When I'm writing, my neural pathways get blocked. I can't read. I can barely hold a conversation without forgetting words and names. I wish I could wear the same clothes and eat the same food each day.
I was an only child and grew up in York where my parents ran a surgical supplies shop. When I say I wish I had brothers and sisters, friends say it's not what it's cracked up to be, but I think it must be good to have someone who knew you from the beginning.
But I, you know, if I could choose a period to go back to, I think I would like to live through the Blitz. 'Cause you do read so many accounts of people saying they're living their lives at such an intense pitch that it was a completely different way of living.
Alternate history fascinates me, as it fascinates all novelists, because 'What if?' is the big thing.
I had a novel in the back of my mind when I won an Ian St James story competition in 1993. At the award ceremony an agent asked me if I was writing a novel. I showed her four or five chapters of what would become 'Behind the Scenes at the Museum' and to my surprise she auctioned them off.
A novel and its writer are inseparable: you are your books. A play's not like that at all. 'Abandonment's not mine - it's everyone's. I wanted it to be a co-operative thing because I was tired of that anal control that I have over novels.
I don't have goals when writing books, apart from getting to the end. I have rather vague ideas about how I want things to feel, I'm big on ambience. I have a title, a beginning and a probable ending and go from there.
Ethics are not necessarily to do with being law-abiding. I am very interested in the moral path, doing the right thing.
Without siblings you get quite a skewed vision of yourself and of the world. I always felt I didn't understand how it worked. I remember feeling quite lonely.
The legacy of the fairy story in my brain is that everything will work out. In fiction it would be very hard for me, as a writer, to give a bad ending to a good character, or give a good ending to a bad character. That's probably not a very postmodern thing to say.
I spent four years doing a doctorate in postmodern American literature. I can recognize it when I see it.
I find the past so fascinating. Photographs are strange, almost surreal, almost here yet gone. I slip into thinking what the past must have been like and I enjoy creating that ambience and atmosphere - 1730 to around 1870 is the most interesting period.
I don't want to spoil the magic, but it's a very curious thing that honestly baffles me. It's the nearest we'll ever get to playing God, to suddenly produce these fully formed creatures. It is a bit odd. Other aspects you work out more - you rework sentences, you rework imagery. But not characters.
Like many writers, I started by writing short stories. I needed to learn how to write and stories are the most practical way to do this, and less soul-destroying than working your way through a lengthy novel and then discovering it's rubbish.
The great thing about writing compared to life is getting to tie things up.
If you don't have a unique voice, then you're not really a writer.
Fairy tales opened up a door into my imagination - they don't conform to the reality that's around you as a child. I started reading when I was three and read everything, but I wanted to be an actress.
Not being published would be great. When I say that to other writers they look at me as if I'm totally insane.
I usually start writing a novel that I then abandon. When I say abandon, I don't think any writer ever abandons anything that they regard as even a half-good sentence. So you recycle. I mean, I can hang on to a sentence for several years and then put it into a book that's completely different from the one it started in.
Probably not needing to be published would give me more time to think about a book.
It's been said that the men in my books have been absent, or weak, or creepy.
I can't imagine what it would be like to write in a relaxed state. I'm going to be writing some stories for my own interest. I want to experiment with different things and see if I can approach writing with much less control and in a better psychological state. It will be like breaking out of a straitjacket.
Everyone said, 'Well, you're very old for a first novel,' and I said, 'How do you write when you haven't lived? How do you write when you have no experience? How do you write straight out of university?'
I think you have to learn for yourself how to write. I'm slightly mystified by creative writing courses - God love them - because I can't understand how you can explain a process that I find so baffling.
I did feel when my mother died if anyone was going to haunt me it would be her. And she hasn't, so I think it is possibly the end.
My highest point was the first thing I won, a short story competition in a women's magazine in the Eighties. It was the first time I'd had my writing validated, and the first thing I'd ever shown anyone else.
Certainly I had a really terrible time with 'Emotionally Weird.' When I finished it, I thought, 'I can't write any more.'
When I started 'Case Histories,' the characters were all going to Antarctica on a cruise. The first part was called 'Embarkation.' It was supposed to be about everyone preparing to embark on the cruise, but it mushroomed into an entire book.
The cult of the individual is killing us. I think Twitter signals the death of western civilisation, but people have been saying that since Demosthenes.
It was failing part of my Ph.D. that led me into novel-writing. By then I was 29, had remarried and had a second baby. It struck me that I'd lost my path in life and I felt frustrated. That's when I started to write.
'Feminism' is such an incredibly awkward word for us these days, isn't it? Not to be feminist would be bizarre, wouldn't it?
My father was an autodidact. It wasn't a middle-class house. Shopkeepers are aspirant. He paid for me to go to private school. He was denied an education - he had a horrible childhood. He got a place at a grammar school and wasn't allowed to go.
My work is not my life. I started writing quite late, I didn't have that 'writing is everything, my art is all.' You have to be able to recognise the difference between the two.
Because I've a track record of talking about books I never write, in Australia they think I'm about to write a book about Jane Austen. Something I said at some festival.
Life is a very orderly thing, but in fiction there is a huge liberation and freedom. I can do what I like. There's nothing that says I can't write a page of full stops. There is no 'should' involved, although you wouldn't know that from literary reviews and critics.
I think about death a lot, I really do, because I can't believe I won't exist. It's the ego isn't it? I feel that I should retreat into a better form of Zen Buddhism than this kind of ego-dominated thing. But I don't know, I mean, I want to come back as a tree but I suspect that it's just not going to happen, is it?
I need to be very isolated to write, and unfortunately isolation is often quite difficult to find. My ideal writing environment would be a country house hotel in the middle of nowhere, with full room service.
Writing for me is quite a plastic form, a kind of mental sculpture, although that sounds weird. It acquires its character and its depth as it goes along.
Because I write fiction, I don't write autobiography, and to me they are very different things. The first-person narrative is a very intimate thing, but you are not addressing other people as 'I' - you are inhabiting that 'I.'
If they would all sleep all the time she wouldn't mind being their mother.
Sometimes it was harder to change the past than it was the future.
Life wasn't about becoming, was it? It was about being.
If people believed in eternal damnation they might not be seizing the day quite so much.
I feel as if I’m waiting for something dreadful to happen, and then I realize it already has.
The beginning is the word and the end is silence. And in between are all the stories.
The past is what you take with you.
What if we had a chance to do it again and again, until we finally did get it right? Wouldn't that be wonderful?
You can step in the same river but the water will always be new.
I have been to the world's end and back and now I know what I would put in my bottom drawer .I would put my sisters.
In the end, it is my belief, words are the only things that can construct a world that makes sense.
Patricia embraces me on the station platform. 'The past is what you leave behind in life, Ruby,' she says with the smile of a reincarnated lama. 'Nonsense, Patricia,' I tell her as I climb on board my train. 'The past's what you take with you.
She was a terrible mother, there was no doubt about it, but she didn't even have the strength to feel guilty.
Why do cats sleep so much? Perhaps they've been trusted with some major cosmic task, an essential law of physics - such as: if there are less than five million cats sleeping at any one time the world will stop spinning.
It was a long time ago now. And it was yesterday.
Ursula craved solitude but she hated loneliness, a conundrum that she couldn’t even begin to solve.
Hindsight's a wonderful thing. If we all had it there would be no history to write about.
Men had no purpose on earth whereas women were gods walking unrecognized among them.
Whatever happens to you, embrace it, the good and the bad equally. Death is just one more thing to be embraced.
Most people muddled through events and only in retrospect realized their significance.
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