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Goodbye, Room. I wave up at Skylight. Say goodbye, I tell Ma. Goodbye, Room. Ma says it but on mute. I look back one more time. It's like a crater, a hole where something happened. Then we go out the door.

Emma Donoghue

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Emma Donoghue
Age: 55
Born: 1969
Born: October 24
Literary Historian
Novelist
Playwright
Screenwriter
Writer
Dublin city
Happened
Hole
Tell
Holes
Back
Wave
Look
Door
Skylights
Looks
Doors
Crater
Something
Room
Craters
Time
Rooms
Mute
Like
Says
Goodbye

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When I tell her what I’m thinking and she tells me what she’s thinking, our each ideas jumping into the other’s head, like coulouring blue crayon on top of yellow that makes green.
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Seriously, I think what all the puzzling over parenthood I had to do to write [a novel] ROOM taught me is that children can thrive in a remarkable range of situations.
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We used to call it her Cinderella complex, because often when she had agreed to go out in the evening she would be seized by panic and announce that she had nothing to wear.
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I tend to be so lost in the work that I don't notice the weather. My partner will come home and say, 'Beautiful day, wasn't it?' and I'll say, 'Was it?' as I won't have noticed the real world at all.
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I am clumsy, a late and nervous driver, and despise all sports except a little gentle dancing or yoga.
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I always wince a little bit when I send me to each of my new books. I wince at submitting myself to my father's judgment. But, of course, he's such a fond father that he always writes back, saying it's the greatest thing ever written.
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I'm really aware that in fiction, women are pretty much equal. There's a lot of very successful women novelists. Not so much [for women writers working] in film.
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I've certainly seen stats that if you have a woman director or a woman screenwriter, the number of female characters goes way up.
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The way to my heart is through Belgian milk chocolate.
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...Sometimes I suspect that what had really happened was that we became more resigned, more cynical, raised our pain thresholds as we lowered our expectations. All in all, settled for less.
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I think I read Susan Brownmiller's classic book called Femininity when I was about 16. So yeah, it's been part of my mindset since a very early age. To me, what's crucial is to tell women's stories but also to tell them in a way that is fearless.
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Some writers can produce marvelous plots without planning it out, but I can't. In particular I need to know the structure of a novel: what's going to happen in each chapter and each scene.
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Change for your own sake, if you must, not for what you imagine another will ask of you.
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I must say, in the case of Room, both the book and the film, I don't think being a lesbian author held me back at all.
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You're meant to have an unhappy childhood to be a writer, but there's a lot to be said for a very happy one that just let's you get on with it.
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People move around so much in the world, things get lost.
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Everyone's got a different story.
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For all the books in his possession, he still failed to read the stories written plain as day in the faces of the people around him.
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I found motherhood a crash course in existentialism (what is my purpose in life, am I mistress or slave of my destiny, when the hell do I get some sleep?) and [the book] ROOM was the result.
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And as the years flowed by, some villagers told travelers of a beast and a beauty who lived in the castle and could be seen walking on the battlements, and others told of two beauties, and others, of two beasts.
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