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Part of being a fiction writer is being able to imagine how someone else is thinking and feeling. I think I've always been good at that.

Reality is very, very contradictory, and so I try to write just perfecting what I see, what I read, what I feel, in a feel-thinking way. Not only giving ideas, or receiving ideas, or trying to explain something, but mainly feel-thinking, a feel-thinking language able to tie the heart and the mind, which have been divorced.

I never felt at home in London, because people were constantly telling me I didn't belong here, so after a while, you tend to believe that.

I don't have the feeling that as a very young person I read books that absolutely made their mark on my mind.

Don't believe everything you think - or feel.

I think that feeling that if one believed absolutely in any cause, then one must have the confidence, the self-certainty, to go through with that particular course of action.

I've always had self-belief, though my sensitive side has never been fully appreciated. For every 'Down in the Tube Station at Midnight,' I've written an 'English Rose.' People forget.

I think my characters with my fingers, I think my characters with my guts. But when I say I think them, that is what I do, I feel them with the sympathetic neurons and I work out with my brain what it is that I am trying to write about, or I can't do it.

My work has always been about authentic feeling, and I think we live in a time where we need that.

My novels come from within me; they are things I feel I want to do.