A Quote by Gillian Flynn

My first two novels featured narrators who were aggressively unattached: They couldn't form any sort of genuine relationship. So I had thoroughly explored the geography of loneliness and isolation.
Loneliness is different than isolation and solitude. Loneliness is a subjective feeling where the connections we need are greater than the connections we have. In the gap, we experience loneliness. It's distinct from the objective state of isolation, which is determined by the number of people around you.
When you don't have any money, any things, any house - if you are unattached, what is the difficulty in it? But when you have everything and you remain unattached - a beggar in the palace - then something very deep has been attained.
I noticed that when I was on Prozac my relationship with the landscape improved. I actually stopped thinking about myself for a minute or two, because most of the thoughts one has about oneself are involved with desire or loneliness or isolation or strategies to overcome them.
If you read novels of the 19th century, they're pretty experimental. They take lots of chances; they seem to break a lot of rules. You've got omniscient narrators lecturing at times to the reader in first person. If you go back to the earliest novels, this is happening to a wild extent, like 'Tristram Shandy' or 'Don Quixote'.
My first two novels were quirky detective stories followed by a couple of SF/Fantasy novels.
In those early days of our relationship though, I always thought that she was so perfect that there had to be a catch. But there wasn't one. Five months and two days after our very first meeting, we were engaged and nine months after that we were married. And every day that I spent on this planet in the company of Ashling, I experienced the same sense of euphoria that I had tasted on our first date. I experienced something that in its simplest form can only be described as true love.
We were proud of our first two records, but the parameters were pretty narrow. We didn't have full drums, for example. There were just so many limitations to that setup, and we really fully explored them.
I don't think the relationship between novels and realities are one to one. Of course novels play different roles. It's essentially just a long narrative form. What you use that long narrative form for can be very different.
The world's geography is not realistic. Geography is not real. Borders are only closed to people but they are open to products. There is another type of geography outside of this matrix. Because of this we noticed we were talking about much more than just Latin America. That was very important to put the film on another level. Based on this idea, we knew that we were not in this world any longer.
I had wanted to write English crime novels based on the American hard-boiled style, and for the first two novels about Brixton, the critics didn't actually know I was Irish.
An intimate relationship does not banish loneliness. Only when we are comfortable with who we are can we truly function independently in a healthy way, can we truly function within a relationship. Two halves do not make a whole when it comes to a healthy relationship: it takes two wholes.
All of the narration in 'Smile' is first-person. Most of the books that I grew up reading had first-person narrators for some reason. My diaries were written in this voice, and since this story is autobiographical, it just felt like a natural extension.
Scary is time passing and sickness and dying and regret and isolation and loneliness and relationship problems - as opposed to a guy in a hockey mask, which didn't seem that scary.
If you ever had a pet, with me it was a dog, with that sort of unconditional love that only dogs can give, people can't do that; that sort of thing where it's very powerful, it's kind of your first love and your first real relationship, and usually your first experience with death.
I sold my first short story while I was home on maternity leave, then began working on novels. Since I was reading and enjoying romance novels at the time, the first two unpublished manuscripts I wrote were both romances. I sold my third novel, 'Call After Midnight,' to Harlequin Intrigue after submitting it unagented.
My first two novels were very black comedies.
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