When I visited Moscow for the first time in 1998, I wandered into the historic Metropol Hotel as a curious tourist simply to ogle the giant painted glass ceiling that hangs over the grand restaurant off the lobby. It was the memory of that short visit that prompted me, some years later, to set 'A Gentleman in Moscow' in the hotel.
My novel 'Wolf Brother' is set in northern Scandinavia during the late Stone Age, so I was aware from the start of Norse influences. I used some Norse names, and the soul-eater Thiazzi is based on the Norse storm giant, Thiassi.
When I work on a novel, I usually have one character and a setting in mind.
I first read the 'Raj Quartet' in the early 1970s, when Paul Scott's decision to set his novels in the dying days of the British Raj in India seemed an eccentric choice, almost as though he did not want readers. The British were tired of their imperial past.
Florida is a great place to set a novel.
It's very important to set your place in a concrete environment. I think Chekhov said that the important thing when you have a play or any kind of novel is to set the roots in a concrete place.
I was very influenced by The Magic Mountain. It's a book that had a huge impact on me. I loved that as a shape for a novel: put a bunch of people in a beautiful place, give them all tuberculosis, make them all stay in a fur sleeping bag for several years and see what happens.
I like to know the places I write about. I feel like it helps me ground the novel. My novels are 'realistic novels,' but they can also be fantastical, so it's nice to have a setting that grounds them a little bit.
I think that setting a novel in a small town taps into a sense of nostalgia among readers. People tend to believe life is different in small towns, and frankly, it is different.
The valley we lived in could easily be the setting for a fantasy novel or a prairie western novel. It could be anything.
My second novel, 'The Luminaries,' is set in the New Zealand gold rushes of the 1860s, though it's not really a historical novel in the conventional sense. So far, I've been describing it as 'an astrological murder mystery.'
My first novel, 'You Must be Sisters,' was started in Pakistan. I've wrote several novels and a TV drama set or partly-set there.
I'm always interested in the way people speak and move in their environment, in a very particular environment. I'm never interested in writing a kind of neutral, universal novel that could be set anywhere. To me, the any novel is a local thing always.
Throughout my career I've struggled to encourage people to read my books on a more metaphorical level. I'm less attached to my settings than, for example, Saul Bellow. The setting of a novel for me is just a part of the technique. I choose it at the end.
My first novel, 'Sacrifice,' was set on the Shetland Islands.
I chose a time in the century which had the greatest moments for novels - the late '30s and World War II.
Since I have come to America, I am often asked whether my next novel will be set in America. I don't think it will. I think I will be living in America for some time to come, but while living in America, I would like to write about Japanese society from the outside.
The Pacific Northwest, and particularly Whidbey Island, is extremely suited to be a location in a novel.
However, the difficulties and pleasures of the writing itself are similar for a novel with a historical setting and a novel with a contemporary setting, as far as I'm concerned.
I think Melbourne is by far and away the most interesting place in Australia, and I thought if I ever wrote a novel or crime novel of any kind, I had to set it here.
Any setting can be a good setting for a novel.
I went abroad to Malaya and came back and tended naturally to gravitate towards the south, I suppose, near London where things seemed to be going on; but I'm still a Lancashire man, and what I want to write someday is a novel about Manchester. Very much a regional novel.
The final cover for 'Heroes Are My Weakness' feels exactly right. It reflects the cold, wintry setting of an isolated island off the coast of Maine and the feisty spirit of a heroine who refuses to give up, even when the odds are stacked against her.
I placed my new novel, 'The Book of Lost Fragrances', in Paris, knowing it would be a challenge. But the book belonged in the city that is one of the greatest perfume capitals of the world and has been since for more than three centuries.
