In twenty years I’ve never had a day when I didn’t have to think about someone else’s needs. And this means the writing has to be fitted around it.

In twenty years I’ve never had a day when I didn’t have to think about someone else’s needs. And this means the writing has to be fitted around it.

Sometimes I get the start of a story from a memory, an anecdote, but that gets lost and is usually unrecognizable in the final story.

I can’t play bridge. I don’t play tennis. All those things that people learn, and I admire, there hasn’t seemed time for. But what there is time for is looking out the window.

Memory is the way we keep telling ourselves our stories – and telling other people a somewhat different version of our stories.

In my own work, I tend to cover a lot of time and to jump back and forward in time, and sometimes the way I do this is not very straightforward.

The deep, personal material of the latter half of your life is your children. You can write about your parents when they’re gone, but your children are still going to be here, and you’re going to want them to come and visit you in the nursing home.

The complexity of things – the things within things – just seems to be endless. I mean nothing is easy, nothing is simple.

That’s something I think is growing on me as I get older: happy endings.

I want the reader to feel something is astonishing. Not the ‘what happens,’ but the way everything happens. These long short story fictions do that best, for me.

The stories are not autobiographical, but they’re personal in that way. I seem to know only the things that I’ve learned. Probably some things through observation, but what I feel I know surely is personal.