Zitat des Tages von Gillian Flynn:
In college, I discovered the Joyce Carol Oates short story 'Where Are You Going, Where Have You Been?' which is definitely one of the most incredibly unnerving, frightening short stories ever written.
I've always had a fondness for the Gothic. That's what kind of stories attract me: Why do people do bad things?
To me, marriage is the ultimate mystery.
I was a quirky kid. I think that's the kind way of putting it.
The midwest is great because it hasn't been entirely claimed. There's more room to write about it; it's harder to write about New York, because even if you've never been there, you think you know what it's like. To do it in any sort of fresh way is trickier.
Books and movies are kind of my two great loves. I don't have too many other actual hobbies. That's pretty much it.
One of my rules about writing exercises is you never are allowed to put them in your book because it's just too tempting. You try to shoehorn things that don't belong.
I want books to give me insight into the way people's brains work and hearts work, and that's what engages me.
Even good characters have their dark sides, and I think it is important that women aren't seen as innately good.
I love Joyce Carol Oates. I love Margaret Atwood, T.C. Boyle. Arthur Phillips is always consistent.
I love Robin Wright's character in 'House of Cards' because she's a bona fide villain. She's a not-nice person in a believable way; you can see her working in the world.
Libraries are filled with stories on generations of brutal men, trapped in a cycle of aggression. I wanted to write about the violence of women.
One of my biggest peeves is when the writer hasn't given you enough information to figure everything out. You should be able to go back to the beginning of 'Gone Girl,' after you've already read it and you know everything, and say, 'Check - check - yes, she gave us that information.'
I spent a lot of - too much of - my childhood watching movies and thinking about movies.
I grew up in the '80s where there's a lot of these kind of post-apocalyptic, post-comet, post-whatever it was, so that always captured my imagination a lot as a little kid, that idea of getting access to secret places and being able to roam around where you're not supposed to.
I am not someone who has hobbies. I have tried knitting, and I can't figure it out.
I think women do have that fatal streak to them that's partly because it's been romanticized, the martyr complex - 'Look what you did to me!'
I mostly go under the radar, which is fantastic because I would not be a good famous person.
What I tell myself is that there is never going to be another 'Gone Girl' for me. I mean, I really believe that. I think I'll write other good books; I have faith in that.
I've always been a mystery fan. My very first grown-up book, I distinctly remember going to the library and my mom helping me pick out an Agatha Christie book. I was in fifth grade or something and very proud of being in the adult fiction aisles. I tore through 'The Mysterious Affair at Styles.'
Some of the most disturbing, sick relationships I've witnessed are between long-time friends, and especially mothers and daughters.
I like the idea that people who see 'Gone Girl' are possibly going to come out with incredibly different reactions to it - not just between men and women, but if you are in a good relationship or a bad relationship. Everyone is going to bring their own bundle of prejudices and viewpoints and experiences to it.
My interest is in turning over a rock and seeing what's underneath. It's a personality trait more than anything; it's what made me want to become a crime reporter, even though I was not suited for it personality-wise.
I get really tense during the first draft. Really tense. That's not great for my family, because the first draft usually takes about a year.
Female violence is a specific brand of ferocity. It's invasive. A girlfight is all teeth and hair, spit and nails - a much more fearsome thing to watch than two dudes clobbering each other.
I grew up in a house full of books.
I watched 'Psycho' a million times.
I find, the older I get, the more surprised I am about how hesitant people are to say what they really want, what they really dream about, what really drives them. It's as if sometimes we're sort of embarrassed, as we get older, to be transparent about that. But you save so much time if you're transparent about what you want.
My first two novels featured narrators who were aggressively unattached: They couldn't form any sort of genuine relationship. So I had thoroughly explored the geography of loneliness and isolation.
A theme that has always interested me is how women express anger, how women express violence. That is very much part of who women are, and it's so unaddressed. A vast amount of literature deals with cycles of violence about men, antiheroes. Women lack that vocabulary.
I was very lucky to grow up in a household that really valued storytelling and didn't find it frivolous.
I tend to write about dark things that happen in a very domestic setting 'cause that, to me, is much scarier than the unknown.
I think that women really entwine with the people that they become close to in a way that men don't - and so, when they are forced to disentwine, you can't remove the vines without doing some damage.
The funny thing, I guess, is that my husband ended up being the muse of a book about the worst marriage in the world, because if he hadn't consistently said, 'Don't censor yourself, don't worry about me' - if he'd been anxious and worried about it - then it would never have gotten written.
I was not a nice little girl. My favorite summertime hobby was stunning ants and feeding them to spiders.
It seems like the darker the books are, the nicer the person is. People say it's the romance writers you've got to watch out for.