I don’t remember which writer said this, but in an interview, a prolific novelist was asked, “Do you write only when you’re inspired, or do you write all the time? Do you wait for the muse, or do you just kind of knock it out? You can just sort of spin it out?” And he said, “Well, I do wait for the muse. I write when the muse comes, but fortunately she shows up, like me, every day at 9:00 a.m.

So, yes, it is very hard work, and there are days where there’s something I have to do in the book, something I have to learn or put myself and the characters through that I am… That makes me fearful or sorrowful. But I do think also that this aspect of writing is over reported at the expense of the pleasurable aspect as well. If writers didn’t love to be in this space between themselves and their language, they probably wouldn’t do it. You’d give up.

I think it’s very different in what I do. Edison’s work was so much tinkering and trying it out and empirical testing. So much of my work is writing. I don’t know what you call the writing, it’s true that the actual inspiration, say for writing an essay, the outlining of it is probably a 15-minute to half-hour procedure, then you may spend about 20 hours writing it. But the writing isn’t perspiration in the same sense. It’s not inspiration, but it’s something in between. Any profession has a vast amount of tedium attached to it. There’s no sense not admitting it. If you’re passionate about it, tedium can be — not exactly a joy — but can be perfectly tolerable. The tedium of a pianist is 10 hours of practice a day or whatever, not all of which is inspirational. The tedium of an experimental scientist is calibrating the machines and doing it over and over again. The tedium of a paleontologist is poring over a microscope, or using a dental pick to chip away the sand grains from the fossil, or looking at the statistical figures in the columns of a computer printout. Every profession has massive tedium, that’s certainly true. You cannot be a successful professional (without it). But I think if you’re committed to it, as they say, it goes with the territory. It’s part of the work.

The bitterness. I am very sad if I think of the status of the world now. This is my deepest inspiration. This could be also an inspiration for the next generation or generations in literature. Inspiration to give something for the next generation, somehow to survive this time because these are very, very dark times and we need much more power in us to survive this time than before.

But my own mottos are, “Don’t imagine for a moment that you’re going to be able to express yourself.” ... And most aspiring artists think, “I have something to say.”

Anyway, what’s the point of a plot, you know? Has life got a plot? Not that I know of. So why should a novel have a plot? But it has to have some kind of story. It has to have some kind of structure.

I think it begins as a kind of tension in space.  There’s something out there and it’s waiting for the big bang, and I have to get that into my head.  I have a composer friend in Ireland, and he beautifully said, “I have this scream in my head and I have to get it into the orchestra.  I have to get it into the music.”  But I wouldn’t be quite as dramatic as that.  But I have this tension.  I have this thing that has to be done. And the problem is, you see, once you’ve got the first paragraph down and you’ve got the tone, then the bloody book is written.  All you have to do is fill it in then, which makes it really boring.  I mean I’d like to be like one of those Japanese artists, you know, just go shoop ! and it’s done.  But no, it takes years.