Anne Tyler's Quotes

My stories are never quite good enough.

My writing day has grown shorter as I've aged, although it seems to produce the same number of pages.

Not until the final draft do I force myself to remember that I'm going to have to think about how it will affect other people.

People always call it luck when you've acted more sensibly than they have.

The one ironclad rule is that I have to try. I have to walk into my writing room and pick up my pen every weekday morning.

When I read, I'm purely a reader.

When I'm working on something, I proceed as if no one else will ever read it.

While armchair travelers dream of going places, traveling armchairs dream of staying put.

I do write long, long character notes - family background, history, details of appearance - much more than will ever appear in the novel. I think this is what lifts a book from that early calculated, artificial stage.

I don't want to say I hear voices; well, actually I do hear voices, but I don't think it's supernatural. I think it's just that when characters are given enough texture and backbone, then lo and behold, they stand on their own.

I just want to be told a story, and I want to believe I'm living that story, and I don't give a thought to influences or method or any other writerly concerns.

I remember leaving the hospital - thinking, 'Wait, are they going to let me just walk off with him? I don't know beans about babies! I don't have a license to do this.' We're just amateurs.

I think it must be very hard to be one of the new young writers who are urged to put themselves forward when it may be the last thing on earth they'd be good at.

I would advise any beginning writer to write the first drafts as if no one else will ever read them - without a thought about publication - and only in the last draft to consider how the work will look from the outside.

I'll write maybe one long paragraph describing the events, then a page or two breaking the events into chapters, and then reams of pages delving into my characters. After that, I'm ready to begin.

It's true that it's a solitary occupation, but you would be surprised at how much companionship a group of imaginary characters can offer once you get to know them.

None of my own experiences ever finds its way into my work. However, the stages of my life - motherhood, middle age, etc. - often influence my subject matter.

She worded it a bit strongly, but I do find myself more and more struck by the differences between the sexes. To put it another way: All marriages are mixed marriages.

The Amateur Marriage grew out of the reflection that of all the opportunities to show differences in character, surely an unhappy marriage must be the richest.

Time, in general, has always been a central obsession of mine - what it does to people, how it can constitute a plot all on its own. So naturally, I am interested in old age.

Ever consider what pets must think of us? I mean, here we come back from a grocery store with the most amazing haul - chicken, pork, half a cow. They must think we're the greatest hunters on earth!

I expect that any day now, I will have said all I have to say; I'll have used up all my characters, and then I'll be free to get on with my real life.

It seems to me that since I've had children, I've grown richer and deeper. They may have slowed down my writing for a while, but when I did write, I had more of a self to speak from.

For my own family, I would always choose the makeshift, surrogate family formed by various characters unrelated by blood.

The hardest novel to write was Dinner at the Homesick Restaurant.

My family can always tell when I'm well into a novel because the meals get very crummy.