Matt Haig

You know, I like to have that sense of, like, completing.

I like white space in the book as well because it's kind of a...

It makes you feel like you can do this.

I always think, you know, like, was there a meeting or something where everyone decided to have like 12 page chapters?

Because, you know, there's a sort of set thing that we do this and I never understand why.

Because it doesn't always feel like, some chapters feel like, yeah, they should be 12 pages.

And sometimes it's just like a chapter can be like a,

I thought or something, and I don't know.

Have you ever read Invisible Cities by Italo Calvino?

Oh, you mention that in here.

But that's like one of the shortest books ever, and that's one of the reasons why I like it.

It's one of those things, it's like 90 pages, and each chapter is just a different imaginary city.

They're all versions of Venice, basically.

I think it's Marco Polo talking to Kublai Khan and trying to say to Kublai Khan, oh, you've got this amazing kingdom because you've got all these cities, but they're all made up cities.

And I love it because you can actually open it.

So it's actually, even though it sounds super highbrow, it's super accessible because you can just pick it up at any page and just read that in that moment.

Yeah, and it's sort of talking about how I was probably feeling.

As soon as your writing becomes your career, you've sort of got that in your mind.

Because you're thinking, how much am I writing for me versus how much am I writing because...

you know, it's expected of me or there's a contract or, you know, so it's finding, it becomes a question the further you go in a career, doesn't it?