Having gotten TV shows on the air, that's so much less work that trying to get the 'Veronica Mars' movie made.

Trying to convince Warner Bros. to make a $30 million 'Veronica Mars' movie just wasn't going to happen, for understandable reasons.

Honesty and authenticity are a big deal for me.

I hate stereotypes and I hate cliche.

I'm a great believer in gathering together all your obsessions and seeing if you can make a novel out of them.

My novels are high concept. I guess big ideas interest me more than, say, the minutiae of domestic life.

One of the biggest problems for beginning writers is this need to over-explain.

Everything I know I imagine everyone else knows as well. And then everything that everyone else knows I imagine they know on top of what I know, so I'm constantly anxious about what everyone else knows.

I think predictability is built into any good novel in some way - you begin reading Anna Karenina and you know pretty much what's going to happen at the end. But that doesn't mean you know what's going to happen in the middle. For me, it's that sense of what happens in the middle that's important.

In some ways I'm a frustrated scientist or mathematician. The amount of times I've thought I'd go back to university and do theoretical physics because I like the big questions, but really I know now that that's not quite me. What's me is to do it in novels.

It's not even a question of whether the universe is meaningful or meaningless. It's in what way could it be meaningful, or in what way, if it was meaningful, could that be even more meaningless than normal meaninglessness?

You can't do science in a novel, but you can do philosophy. Or, if you're really lucky, you can manage to pose a question in such a way that other people will take it on.