Julia Glass

I love to eat, I love to feed people, and I'm a great cook. I joked with my friends that I wanted to write a book where desserts had to be extensively researched, since I have a terrible sweet tooth. My particular downfall is cake.

I'm a fictional monogamist - I can only work on one thing at a time - but each novel starts growing in my head when I'm about midway through the previous novel.

I love it when I start a book that is so good that all I want to do is get back to my own writing, in a competitive way.

My readers often tell me that what they admire about my books is my ability to write from so many points of view. My challenge to myself is whether I'll ever be able to write a novel just from one point of view. It seems impossible.

I do gravitate toward 19th century writers, and I never mind being compared with some of the most memorable writers from that era. I mean, George Eliot is my absolute heroine.

Call me territorial or narcissistic, but I avoid novels about people who share my vocation.

All the best novels are about one thing: how we go on. The characters must survive the fallout of their own cowardice, folly, denial or misguided passion. They squander what matters most, and still they pick up the pieces.

The best booksellers are like trustworthy pushers: Whatever they're dealing, you take it.

Chemotherapy can be a long, tough haul - for me, it went on for six months - and the best doctors and nurses become, if only for that period of time, as essential in your life as friends or spouses.

I don't see how you can write well if you're not reading well at the same time. I think the only risk is reading too many books of one 'type' in a row.

When I give myself over to a good novel, I surrender to the truths fashioned from one writer's heart, mind and soul. I do not waste a nanosecond wondering whether what I'm reading 'really happened.'

A good novel is an out-of-self experience. It lifts you off the ground so that you have the sensation of flying. It says, 'Look at the world around you; learn from the people in these pages, neither quite me nor quite you, how life is lived in so many different ways.'

Visual art is a foreign language I'm fluent at, but my native language is language.

I continue to shun, in a very curmudgeonly fashion, things like Twitter and Facebook.

Winter sports aren't my thing. You can have your boards and blades and your glacier-gripping cleats: My feet prefer to negotiate the ground on a pair of dependable soles.

That's why you can't be a true Yankee without winter: because all the best pleasures are earned - the fire, the fried oysters; the warmer seasons, too. Who knows the real worth of summer at the beach without a good taste of the seaside in winter?

I wonder if it's in the nature of fiction writers to never quite see their own lives as 'real,' since we are always making stuff up!

Finally, in my early 30s, I started writing fiction for the first time as an adult. That felt so scary, and I spent a few years feeling miserably 'behind' my high-achieving friends. But I persevered and obviously have no regrets.

Sometimes the writing leads to the revelations, not the other way around.

Nothing teaches great writing like the very best books do. Yet, good teachers often help students cross that bridge, and I have to say that I had a few extraordinary English teachers in high school whom I still credit for their guidance.

From fifth grade on, I worked at our public library. The pay, a pittance, was almost superfluous. All through high school, I looked forward to summer as the time when I could work at the library four or five days a week. I was never a camp counselor, a lifeguard, a scooper of ice cream.

As a writer of fiction, I spend my days inventing real lives for make-believe people; what I create can only seem real.

My love of books - not just of their tactile pleasures but of their astonishing variety - was born in a book-filled house; my father is a scholar.

Somewhat sadly, the survival of many bookstores now depends on selling merchandise other than books.

I am not opposed to e-readers. Any technology that encourages the reading of literature is a good thing.

I read reviews and consider myself pretty 'plugged in' to the literary cosmos, yet one of the things I love best about book-touring is the opportunity to compare notes with favorite booksellers around the country. I always come home with books by authors I'd never heard of - or books I've read about but didn't realize I might love.

If I'm lucky enough to see the day when my sons are living independently, maybe with families of their own, I'll still be wondering how I can be a better mother and worrying about the things I overlooked back when they lived under my roof.

At its best, fiction cultivates fantasy and compassion; at its worst, memoir provokes schadenfreude and prurience. The ugly truth, I fear, is that many people are drawn to sensational memoirs for the same reason they watch 'The Apprentice': they like to witness actual suffering, before-your-very-eyes humiliation.

A fine memoir is to a fine novel as a well-wrought blanket is to a fancifully embroidered patchwork quilt. The memoir, a logical creation, dissects and dignifies reality. Fiction, wholly extravagant, magnifies it and gives it moral shape. Fiction has no practical purpose. Fiction, after all, is art.

I see life as increasingly complex, vivid, colorful, crazy, chaotic. That's the world I write about... the world I live in.

I grew up in a home where animals were ever-present and often dominated our lives. There were always horses, dogs, and cats, as well as a revolving infirmary of injured wildlife being nursed by my sister the aspiring vet.

I talked late, swam late, did not learn to ride a bike until college - and might never have walked or learned to drive a car if my parents hadn't overruled my lack of motivation and virtually forced me to embrace both forms of transportation. I suspect I was happy to sit in a corner with a book.

Though I didn't quite plan it that way, I had my two sons at just about the same ages my mother saw me and my sister off to college, and my first novel was published when I was 46. This 'tardiness' isn't something I'm proud of, but I'm happy to be an inspiration to others who arrive at these milestones later than most of us do.

Virginia Woolf was wrong. You do not need a room of your own to write.

I'm not a believer that you have to write every day. If I felt industrious, I'd spend ten hours a week writing. The writing is going on all the time in my head; the trick is to capture it. Showers are great. Traffic jams are great.

The old adage is, 'Write what you know.' But if you only do that, your work becomes claustrophobic. I say, 'Write what you want to know.'

There are very few works of fiction that take you inside the heads of all characters. I tell my writing students that one of the most important questions to ask yourself when you begin writing a story is this: Whose story is it? You need to make a commitment to one or perhaps a few characters.

In my fairly disorganized life, yellow stickies are too easily lost, and as for software, I try to avoid using my computer as much more than a typewriter and a post office. I rely on my lifelong habit of daydreaming to spin my stories.

I have struggled for decades now with the fear of and resistance to change - mostly in the realms of technology, transportation, and the ways people choose to communicate. If I had a theme song, it would be that lovely song 'I'm Old-Fashioned,' as sung by Ella Fitzgerald.

To me, stretching the capabilities of my imagination is a crucial aspect of writing fiction; you could think of it as a mental form of athleticism.

Colorful garments - ball gowns, kimonos, evening pajamas - made from yards upon yards of iridescent silk or velvet. I own an unjustifiable number of such outfits and jump at the chance to wear them. Against the etiquette about which I am otherwise all too conscious, I frequently, and unrepentantly, overdress for the occasion.

I write because I'm in love with language; because I like working for myself, inside my head; and because it's the only way I know to make a stab at answering the never-ending questions of the heart that arise simply from the everyday living of our lives.

My own life is wonderful, but if I had to live the life of someone else, I'd gladly choose that of Julia Child or Dr. Seuss: two outrageously original people, each of whom fashioned an idiosyncratic wisdom, passion for life, and sense of humor into an art form that anyone and everyone could savor.

Over time, it's occurred to me that my protagonists all originate in some aspect of myself that I find myself questioning or feeling uncomfortable about.

Though I'm a New Englander, I'm very indoorsy once the mercury drops.

My first draft is always way too long; my books start out with delusions of 'War and Peace' - and must be gently disabused. My editor is brilliant at taking me to the point where I do all the necessary cutting on my own. I like to say she's a midwife rather than a surgeon.

In every novel, I write about something - a place, an experience, an emotion - with which I'm intimately familiar, but it's also crucial to me that I take on challenges. If write only inside my comfort zone, I'll suffocate.

The books I read, if they intrude on my writing, do so as weather will pass through and touch a landscape - affecting it, yes, but only now and then leaving a permanent mark.

Readers tell me that my novels are filled with significant mothers. Do I realize this? Do I do it on purpose? The truth is, I don't. I think of myself as a writer of family stories. I write more often than not from a male point of view, and I usually begin by focusing on siblings, spouses, even fathers, before I think about the mothers.

In my head, at least, the business of spinning stories has no closing time. Twists in my characters' lives, glimpses of their secrets, obstacles to their dreams... all arrive unbidden when I'm getting cash at the ATM, walking my son to camp, singing a hymn at a wedding.