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Richard Russo

What comes easiest for me is dialogue. Sometimes when my characters are speaking to me, I have to slow them down so that I'm not simply taking dictation.

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When authors who write literary fiction begin to write screenplays, everybody assumes that's the end. Here's another who's never going to write well again.

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You can be interested in a Jane Smiley novel whether or not anyone says a word. She enters into her characters' thoughts with great understanding and depth.

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A lot of my characters in all of my books have a self-destructive urge. They'll do precisely the thing that they know is wrong, take a perverse delight in doing the wrong thing.

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I have to have a character worth caring about. I tend not to start writing books about people I don't have a lot of sympathy for because I'm just going to be with them too long.

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When I look back over my novels what I find is that when I think I'm finished with a theme, I'm generally not. And usually themes will recur from novel to novel in odd, new guises.

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Some authors have a very hard time understanding that in order to be faithful to the spirit of the book, it's almost always impossible to remain faithful to the text. You have to make changes.

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I looked back at some of my earlier published stories with genuine horror and remorse. I got thinking, How many extant copies might there be, who owns them, and do they keep their doors locked?

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I want that which is hilarious and that which is heartbreaking to occupy the same territory in the book because I think they very often occupy the same territory in life, much as we try to separate them.

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You just kind of have faith. If that sounds kind of mystical, it's because I really don't know how it works, but I trust that it does. I try to write the way I read, in order to find out what happens next.

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