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I write while my son is at school. At about 7:45 A.M., I walk him there, with the dogs, then walk them for another forty minutes or so, go home and chain myself to the desk a little before 9 A.M., and try not to be distracted until I hear my son plunge through the front door at about 3 P.M.

Because I worked as a newspaper reporter for about 14 years before attempting my first novel, I learned to write under almost any circumstances- by candle light, in longhand, in African villages where there was no power, under shelling in Kurdistan.

I can always write. Sometimes, to be sure, what I write is crap, but it's words on the page and therefore it is something to work with.

My sentences tend to be very short and rather spare. I'm more your paragraph kind of gal.

Moral certainty can deafen people to any truth other than their own.

The structure of 'March' was laid down for me before the first line was written, because my character has to exist within Louisa May Alcott's 'Little Women' plotline.

The thing that most attracts me to historical fiction is taking the factual record as far as it is known, using that as scaffolding, and then letting imagination build the structure that fills in those things we can never find out for sure.

While I love to read contemporary fiction, I'm not drawn to writing it. Perhaps it's because the former journalist in me is too inhibited by the press of reality; when I think about writing of my own time I always think about nonfiction narratives. Or perhaps it's just that I find the present too confounding.

There are always a few who stand up in times of communal madness and have the courage to say that what unites us is greater than what divides us.

I'm a praying atheist. When I hear an ambulance siren, I ask for a blessing for those people in trouble, knowing that no one's listening. I think it's just a habit of mindfulness.

Jewish prayers are mostly about daily things - the sliver of a new moon, dew on the grass, the bread and the wine.

My mother's family were full-on Irish Catholics - faith in an elaborate old fashioned, highly conservative and madly baroque style. I sort of fell out of the tribe over women's rights and social justice issues when I was just 13 years old.

I'm very, very leery of nonfiction books where they change timeframes and use - what do they call those things? - composite characters. I don't think that's right.

The Sarajevans have a very particular world view - a mordant wit coupled with this unbearable sadness and... truckloads of guts, you know.

Certainly I'm still mining my experiences as a journalist. I think it's no coincidence that all three of my novels basically are about how people act in a time of catastrophe. Do they go to their best self or their worst self?

If you look at an illuminated manuscript, even today, it just blows your mind. For them, without all the clutter and inputs that we have, it must have been even more extraordinary.

September 11, 2001, revealed heroism in ordinary people who might have gone through their lives never called upon to demonstrate the extent of their courage.

One thing I believe completely is that the human heart remains the human heart, no matter how our material circumstances change as we move together through time.

The day in 2004 when the radiologist told me I had invasive cancer, I walked down the hospital corridor looking for a phone to call my husband, and I could almost see the fear coming toward me like a big, black shadow.

I had been afraid of breast cancer, as I suspect most women are, from the time I hit adolescence. At that age, when our emerging sexuality is our central preoccupation, the idea of disfigurement of a breast is particularly horrifying.

If screenwriters have to kill off a female character, they love to give her cancer. We've seen so many great actresses go down to the Big C: Ali MacGraw, Meryl Streep, Emma Thompson, Debra Winger, Susan Sarandon.

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