But at the same time, I have trouble keeping things out of books, which is why I don't write short stories because they turn into novels.
I was mainly in a state of nervousness while I wrote it - nervousness that it was far bigger and more complicated than anything Id attempted before, and that maybe my talent just wasnt up to it and the book would have to be abandoned, or would turn out not to work at all when it was finished.
The biggest markets for my books outside the UK are France and Italy, and those are the two countries where I also have the closest personal relationships with my translators - I don't know whether that's a coincidence, or if there's something to be learned from it.
My only regret is that I signed away the world rights and in America they've been far and away my most successful books, but I never saw a cent from any of it.
But you can try to read books at the wrong time or for the wrong reasons.
The writer I feel the most affinity with - you said you felt my books are 19th century novels, I think they're 18th century novels - is Fielding, Henry Fielding, he's the guy who does it for me.
As the books grew bigger and more ambitious, the situations in question sometimes became political ones, and so it became necessary to start painting in the social background on a scale which eventually became panoramic.
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