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Prose is all about embellishing and describing.

The older I get, the more I seek to use a plain prose style, concentrating more on story.

Prose is something that is persistent in staying in one place long enough to not only zero in on the dramatic effect of something that might have happened, or something that might have been seen, but also in watching how it played out and thinking about the cause and the effect.

If there's anything I'm keen to get better at in my writing, then it's the writing of prose as opposed to the writing of dialogue.

I have always tended toward a lush prose style, but I take care to modulate it from story to story and to strip it down entirely when necessary.

I like the detail work of telling a story in small pieces, as is done in movie-making, and also the long leap of faith needed to see a theatre performance through each night. Both require focus and self-discipline.

I'm used to adapting my novels for feature film - it can be challenging to cut and compress three or four hundred pages into two hours of dramatic action.

Work on good prose has three steps: a musical stage when it is composed, an architectonic one when it is built, and a textile one when it is woven.

I'd be lying if I said that any part of writing is easy for me, but I have always found that setting comes more naturally to me than, say, writing action scenes.

When you have an idea for a story, you want those characters to reach as many people as you can. I think you normally think of prose as a way of doing that. It fits our time, the culture.