We have to diversify, we have to find work we can do that helps other people while helping ourselves, work that has to do with writing that isn't necessarily just writing saleable novels or getting huge advances.

I remember I had had one woman who had three or four kids, and some of them were having problems. I said, 'Maybe you could go write somewhere else, away from your house.' And sure enough, all kinds of wonderful stuff emerged. She was keeping too much charge of herself because she couldn't stop being a mother when she was in the house. You have to find your own way of letting loose, if you're one of those people.

Certainly children are being encouraged far more than they were seventy-five years ago and are more accepted as they are.

When I've taught writing to five, six, and seven year olds, it's not very different than talking to an adult writer. They're writers then, and when they get to be young teenagers they're not anymore. You might go and talk to them about writing, and they'll be very self-conscious or will have detached themselves from the group.

You may be somebody who writes best for a small press that doesn't pay very well, but you might have a fascinating and intricate style that might not appeal to as many readers but will be incredibly meaningful to the readers you have. Truly, that's as wonderful if not more wonderful.

Telling someone to be confident in the abstract is not going to make it easier for the unconfident writer to actually get herself or himself to the point of being able to put in the upsetting stuff.

I began to see, again and again, stories that were first confusing and second where the emotional impact was muted because the big scene came before the explanation of what was going on. There was a reverse chronological order as well as a concealment of what exactly was going on. I think often that comes out of the fear of being boring, and sometimes I think it's just an attempt to seem clever.