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Who's ever going to write a film in which I get the girl? Me!

When I wrote 'The Girl on the Train,' nobody knew who I was, and that's quite a comfortable position to be writing in.

I'm an actress, a writer, the editor-in-chief of my lifestyle brand 'The Tig', a pretty good cook, and a firm believer in handwritten notes.

A lot of the scripts I read and the characters I get are 'the girl' in romantic films, and I don't know how comfortable I am, or the world is, with me being that.

I've always scribbled, and I still do it. I've written numerous scripts for films for which I think I'd be perfect as the complex, intelligent and, yes, modern heroine. Embarrassingly bad, all of them. I've had to come to terms with the fact that I'm not a writer.

It's hard to imagine my life not writing. I love it.

I write characters. Some of those characters are women.

Really, when I write a book I'm the only one I have to please. That's the beauty of writing a book instead of a screenplay.

I put a lot of myself into my characters when I write.

I think what happens is you write how you grew up. And I was born on the prairie, and so everything is kind of spare on the prairie. And so I'm just used to writing in that way. 'Sarah, Plain and Tall' was that way. And most of my fiction is. I like writing small pieces. Somehow it just suits me.