I Was Not So Old That I

If I'm Writing A Novel, I'll Probably Get Up In The Morning, Do Email, Perhaps Blog, Deal With Emergencies, And Then Be Off Novel-writing Around 1.00pm And Stop Around 6.00pm. And I'll Be Writing In Longhand, A Safe Distance From My Computer. If I'm Not Writing A Novel, There Is No Schedule, And Scripts And Introductions And Whatnot Can Find Themselves Being Written At Any Time And On Anything.

I Was Always Aware, Reading Chesterton, That There Was Someone Writing This Who Rejoiced In Words, Who Deployed Them On The Page As An Artist Deploys His Paints Upon His Palette. Behind Every Chesterton Sentence There Was Someone Painting With Words, And It Seemed To Me That At The End Of Any Particularly Good Sentence Or Any Perfectly-put Paradox, You Could Hear The Author, Somewhere Behind The Scenes, Giggling With Delight.

The Strangest Part Of Being So Well Known Is Definitely Getting A New Yorker Profile. It's A Wonderful, Strange Process, Like Seeing Yourself Through A Distorting Mirror.

Adult Helplessness Destroys Children. Or It Forces Them To Become Tiny Adults Of Their Own.

When I Started Out, There Were A Lot Of Things I Knew I Couldn't Do, And A Lot Of Things I Only Found Out I Couldn't Do By Going And Doing It. And No-one Was Watching, And Nobody Cared.