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The problem with too beautiful a view is that it's alright for the mulling stage. But for the writing stage, you want to be somewhere without a view, especially if it is very different from what you're writing.

I love 'The View,' so when you're living the dream, it's not work.

As a writer I've learned certain lessons. One of them is to be careful about how you put a view, and to bear in mind how easily and readily you'll be misinterpreted.

I never do a full outline, and if I did, I would not feel bound to it, because the view from inside a scene can be different from the view outside it. But neither do I just start writing and see what happens; I am far more disciplined than that.

I like a view but I like to sit with my back turned to it.

I still write the same way and have the same perspective.

Readers let me know that they like books that have more to them than meets the eye. Had they not let me know that, I never would have written 'The View From Saturday.'

I made one untitled piece.

I think I realized it was an art form at the beginning, but it took me a really long time before I was able to view what I was performing myself as an art form.

There's nothing I like less than bad arguments for a view that I hold dear.