Donna Tartt Quotes

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Everything takes me longer than I expect. It's the sad truth about life.

You are - all your experience just kind of accumulates, and the novel takes a richness of its own simply because it has the weight of all those years that one's put into it.

Well, I do have some maiden aunts that are not quite like the aunts in the book, but I definitely do have a couple of them, and a couple of old aunties.

Well, I think storytellers have always found murder a fascinating device.

On the other hand, I mean, that is what writers have always been supposed to do, was to rely on their own devices and to - I mean, writing is a lonely business.

I think it's hard to write about children and to have an idea of innocence.

I think innocence is something that adults project upon children that's not really there.

Children - if you think back really what it was like to be a child and what it was like to know other children - children lie all the time.

Children love secret club houses. They love secrecy even when there's no need for secrecy.

The novel is about five students of classics who are studying with a classics professor, and they take the ideas of the things that they're learning from him a bit too seriously, with terrible consequences.

I really do work in solitude.

It's hard for me to show work while I'm writing, because other people's comments will influence what happens.

To really be centered and to really work well and to think about the kinds of things that I need to think about, I need to spend large amounts of time alone.

In order for a long piece of work to engage a novelist over an extended period of time, it has to deal with questions that you find very important, that you're trying to work out.

But romantic vision can also lead one away from certain very hard, ugly truths about life that are important to know.

Sometimes you can do all the right things and not succeed. And that's a hard lesson of reality.

I believe, in a funny way, the job of the novelist is to be out there on the fringes and speaking for an experience that has not really been spoken for.

My novels aren't really generated by a single conceptual spark; it's more a process of many different elements that come together unexpectedly over a long period of time.

I'm not sure whay I've been drawn to this subject, except that murder is a subject that has always drawn people for as long as people have been telling stories.

Character, to me, is the life's blood of fiction.

I love the tradition of Dickens, where even the most minor walk-on characters are twitching and particular and alive.

The job of the novelist is to invent: to embroider, to color, to embellish, to make things up.

I just finished writing an essay about William Maxwell, an American writer whose work I admire very much.

Actually, I enjoy the process of writing a big long novel.

I've written only two novels, but they're both long ones, and they each took a decade to write.

There's an expectation these days that novels - like any other consumer product - should be made on a production line, with one dropping from the conveyor belt every couple of years.

But it's for every writer to decide his own pace, and the pace varies with the writer and the work.

The Little Friend is a long book. It's also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story.

Taking on challenging projects is the way that one grows and extends one's range as a writer, one's technical command, so I consider the time well-spent.

I'd rather write one good book than ten mediocre ones.

Children have very sharp powers of observation - probably sharper than adults - yet at the same time their emotional reactions are murky and much more primitive.

Storytelling and elegant style don't always go hand in hand.

The storytelling gift is innate: one has it or one doesn't. But style is at least partly a learned thing: one refines it by looking and listening and reading and practice - by work.

The books I loved in childhood - the first loves - I've read so often that I've internalized them in some really essential way: they are more inside me now than out.

When I'm writing, I am concentrating almost wholly on concrete detail: the color a room is painted, the way a drop of water rolls off a wet leaf after a rain.

So I'm not a Southern writer in the commonly held sense of the term, like Faulkner or Eudora Welty, who took the South for their entire literary environment and subject matter.

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