Quotes from Amy Waldman

As a novelist, you deepen your characters as you go, adding layers. As a reporter, you try to peel layers away: observing subjects enough to get beneath the surface, re-questioning a source to find the facts. But these processes aren't so different.

Religious speech is extreme, emotional, and motivational. It is anti-literal, relying on metaphor, allusion, and other rhetorical devices, and it assumes knowledge within a community of believers.

Imagination, it turns out, is a great deal like reporting in your own head. Here is a paradox of fiction-writing. You are crafting something from nothing, which means, in one sense, that none of it is true. Yet in the writing, and perhaps in the reading, some of a character's actions or lines are truer than others.

I had been a reporter for 15 years when I set out to write my first novel. I knew how to research an article or profile a subject - skills that I assumed would be useless when it came to fiction. It was from my imagination that the characters in my story would emerge.

So the premise of 'The Submission' is that there's an anonymous competition to design a 9/11 memorial and it's won by an American Muslim, an architect born and raised in Virginia, and his name is Mohammad Khan.

I found 'The Twin' sitting on a coffee table at a writers' colony in 2009. It carried praise from J.M. Coetzee. That seemed ample justification for using it to avoid my own writing. I finished it - weeping - a day later, and I've been puzzling over its powerful hold on me ever since.

My children, who are almost two: watching them develop has made me pay much closer attention to how we become who we are.

I'm kind of a mash-up of taste - Graham Greene and Jane Austen; W.G. Sebald and Alice Munro.

In life, redemption was walking up the down escalator: stop to congratulate yourself, and back you slid.

History is the history of human behavior, and human behavior is the raw material of fiction. Most people recognize that novelists do research to get the facts right - how a glove factory works, for example, or how courtesans in imperial Japan dressed.

There were in life rarely, if ever, "right" decisions, never perfect ones, only the best to be made under the circumstances.

Nothing in life gets dropped without someone else having to pick it up.

My parents are aging and there are difficult issues. It's strange to have children at the beginning of life and parents nearing the end.

So the premise of 'The Submission' is that there's an anonymous competition to design a 9/11 memorial and it's won by an American Muslim, an architect born and raised in Virginia, and his name is Mohammad Khan.

Work less than you think you should. It took me a while to realise there was a point each day when my creativity ran out and I was just producing words - usually lousy ones - for their own sake. And nap: it helps to refresh the brain, at least mine.

In America time was gold; in Bangladesh, corrugated tin.

The September 11, 2001, attacks on the World Trade Center and the Pentagon prompted a fundamental shift in the American government's approach to Islamic terrorism.

I wasted years worrying about what other people thought.

I read Claire Messud's 'The Emperor's Children,' I read Joseph O'Neill's 'Netherland' - but to me, they're not 9/11 novels. In 'The Emperor's Children,' 9/11 felt to me like a piece of the plot; the novel wasn't wrestling with what 9/11 meant. And 'Netherland' felt the same way. I liked both books a lot but I don't see them as 9/11 novels.

And as journalists we look for differences - differences between countries, cultures, classes, and communities. We're very sensitized to difference, but it's much harder to write about similarities across countries, cultures, classes, and communities.

I wasn't sitting around years ago thinking I really want to write a novel.

While researching 'The Submission,' I went to a protest against the Ground Zero mosque in New York when I was about to give birth to twins. It was about 100 degrees. People thought I was very dedicated.

I had been a reporter for 15 years when I set out to write my first novel. I knew how to research an article or profile a subject - skills that I assumed would be useless when it came to fiction. It was from my imagination that the characters in my story would emerge.

The rhetoric is the first step, it coarsens attitudes