It's hard, because when you talk about process or your characters ruling your narrative, it sounds like you have no control, but obviously you're ultimately the author, so you do have control.

Everyday he got up. Before sleep wore off, he was who he used to be. Then, as his consciousness woke, it was as if poison seeped in. At first he couldn't even get up. He lay there under a heavy weight. But then only movment could save him, and he moved and he moved and he moved, no movement being enough to make up for it. The guilt on him, the hand of God pressing down on him, saying, You were not there when your daughter needed you.

I wake up very early in the morning. I like to start in the dark, and I never work at night, because my brain is evaporated by 4 p.m.

You're not supposed to look back, you're supposed to keep going.

I mean, if I went into my closet, I could find a previous draft and try to figure that out, but it takes a long time for me to find the voice to tell a story in. I was working from other points of view for a couple years there.

I tried to take solace in Holiday, our dog. I missed him in a way I hadn't yet let myself miss my mother and father, my sister and brother. That way of missing would mean that I had accepted that I would never be with them again; it might sound silly but I didn't believe it, would not believe it.

Last night it had been my father who had finally said it: "She’s never coming home." A clear and easy piece of truth that everyone who had ever known me had accepted. But he needed to say it, and she needed to hear him say it.