When I do my best work, the stories tend to be pretty emotionally-charged.
I love a lot of things, and I'm pretty much obsessive about most things I do, whether it be gardening, or architecture, or music. I'd be an obsessive hairdresser.
I'm pretty obsessive-compulsive, and I'm very fast. I tend to not write for a long period of time until I can't not write, and then I write first drafts in gallops. I won't eat right. I forget to do my laundry.
I am, as are most writers, just hugely obsessive, and so are many of my closest friends, who tend to be writers or scientists. It's a trait of human nature that I'm particularly in touch with. So I tend to project it onto my characters.
Writers tend to write stories as a kind of holiday between novels, or as preliminary steps towards a novel. Stories just don't often make up a writer's main body of work, and that's not because they don't see the market for it.
Never worry about being obsessive. I like obsessive people. Obsessive people make great art
My personality's very obsessive-compulsive. I tend to fixate a lot.
The stories I work on, especially for any length of time, do tend to become personal to me.
I tend to eat pretty healthy, though, and I work out - I work out hard.
My mum was critical in getting me to recognise very early on that although what I was doing was pretty serious, quite selfish, and probably to most people pretty obsessive, there actually was more to life than running quickly twice round a track.
Some of the stories I admire seem to zero in on one particular time and place. There isn't a rule about this. But there's a tidy sense about many stories I read. In my own work, I tend to cover a lot of time and to jump back and forward in time, and sometimes the way I do this is not very straightforward.
The stories tend to be what I work on when I'm stuck. Something will just pop into my head and I'll think that's more of a story.
I think I was always writing books that had very clear scenic structures. I do tend to write in scenes. I do tend to have a fair amount of dialogue. And I do tend to use stories that don't sprawl all over the place, that have a very sharp focus in terms of how they unfold in time.
You work with people who are obsessive about shopping, obsessive about owning things and buying things, like this purchase is going to make them happy. And you want to say to them, 'You know, no amount of real estate is gonna fill that void.'
You work with people who are obsessive about shopping, obsessive about owning things and buying things, like this purchase is going to make them happy. And you want to say to them, You know, no amount of real estate is gonna fill that void.
I personally tend to be drawn to stories that aren't paid much attention to, or stories that aren't on people's radar.