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I'm ambivalent about the Orange Prize. I was really proud to be shortlisted alongside the other writers, whom I admire. That said, I don't know if it's best way of addressing gender inequality problems.

Lauren Groff

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Lauren Groff
Age: 46
Born: 1978
Born: July 23
Novelist
Writer
Cooperstown
New York
Really
Prize
Gender
Admire
Writers
Ambivalent
Problems
Alongside
Proud
Addressing
Problem
Orange
Best
Inequality

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I've always relied on producing more material than I need. With each of my published novels I've written around four times the amount of material that's ended up in the book.
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Everything is cyclical. Historical eras go through times of intense cynicism, broken by periods of intense idealism.
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At least in my case, a very simple, regular, happy life makes for better writing.
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When I was small and easily wounded books were my carapace. If I were recalled to my hurts in the middle of a book they somehow mattered less. My corporeal life was slight the dazzling one in my head was what really mattered. Returning to books was coming home.
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Who, in the midst of passion, is vigilant against illness? Who listens to the reports of recently decimated populations in Spain, India, Bora Bora, when new lips, tongues and poems fill the world?
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I'm always hungry for people.
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You had to pick up a landline to make sure your best friend wore a matching outfit to school. I do remember people talking more. Nostalgia is dangerous, though.
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It's wonderful that nothing you write is ever going to be as beautiful as what's in your head, because that gap is where the art can enter and begin to stretch its limbs.
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The idea of legitimacy is something I suppose I deal with in my fiction, and in part it's probably a response to my upbringing. When I was growing up I was the middle child, pathologically shy, in a family with a very loud and opinionated older brother, and I felt as if I never had the right to speak. As a result, I simply didn't speak very much.
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It seems to me that if you were to take almost any half-century in history, you'd find a grand societal tug-of-war between the community and the individual.
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In terms of writing, I think what most fiction writers treasure more than anything is the feeling that they're living for the length of a book inside another person.
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While writing, writers are living inside a character or characters, and when the book ekes into the world, writers are living inside the reader. That's more than connecting.
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Even the presence of my kids cannot, during those writing hours, disturb me. Unless there's a bone sticking out of their arm, I'm not interested.
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I do like Twitter. Writing is a solitary pursuit, and it can get lonely. I like to go into Twitter for a short period of time, communicate with clever friends, and then switch it off. That's perfect for me.
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Childhood is such a delicate tissue what they had done this morning could snag somewhere in the little ones, make a dull, small pain that will circle back again and again, and hurt them in small ways for the rest of their lives.
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I love Twitter. It's like having a closet full of clever friends that you can visit twice a day, then shove back into the darkness when you're tired of them.
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The triumph of writing fiction is that by doing so, writers can build a more ideal world in themselves.
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Research is about following the gleam into the dark. It's also about being sensitive enough to know which fact is the creative fact the fertile fact the fact that suggests and engenders, as opposed to the fact that deadens and kills a delicate new project.
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As soon as you publish a book and the reader reads it, they're making an extension of your brain with their brain.
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There is part of me that longs to have the back-to-the-earth life - make my own bread, grow my own wheat, just be really self-sufficient - but I am not, at the moment, willing to give up the luxury of modern life, and amazing schools for my kids, and things that I've come to rely on that are parts of society.
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