I don't consider myself attractive. I'm an academic, and in academia, people will write you off if you look younger.

It's a challenge of to write a narrator who is doing something that is really unlikeable and morally questionable. A lot of times, you read a book because you like the character, you are cheering for the character; you want the best for the character.

If you're a beautiful Caucasian woman, and you commit a heinous crime, it's like people don't want to acknowledge the reality of your actions.

I really want readers to put themselves into the shoes of each character. So the opening lines are an orienting technique: this is where you are, this is who you are. Go.

My poor family. I try to protect them from my work. My parents are very religious, and my brother and sister are very normal. We have an understanding, I think, that what I do isn't quite down their alley.

With surgical insight, Inside Madeline delves into the most complex female territory imaginable and dissects until every honest bone is revealed. Bomer's prose doesn't flinch, doesn't filter-the bravery of these stories left me breathless.

I've worked hard on my doctorate, and I want to be acknowledged for that. But I also wanted to comment on this message that women get that the most important thing they can do is police their appearance.