That's about 90 percent of my theological life - radical self-care. Put your own oxygen mask on first. I watch the self-talk that goes through my mind, and if I am being critical with myself, I shake myself out of it.

If something inside of you is real, we will probably find it interesting, and it will probably be universal. So you must risk placing real emotion at the center of your work. Write straight into the emotional center of things. Write toward vulnerability. Risk being unliked. Tell the truth as you understand it. If you’re a writer you have a moral obligation to do this. And it is a revolutionary act—truth is always subversive.

If you are hoping to find your self-worth and fulfillment in other peoples' opinion of your writing, you will never find it.

I'm one of those religious people who are afraid of everything. I'm instantly worried about everything that could go wrong.

Dialogue that is written in dialect is very tiring to read. If you can do it brilliantly, fine. If other writers read your work and rave about your use of dialect, go for it. But be positive that you do it well, because otherwise it is a lot of work to read short stories or novels that are written in dialect. It makes our necks feel funny.

There is nothing as sweet as a comeback, when you are down and out, about to lose, and out of time.

My friend Terry says that when you need to make a decision, in your work or otherwise, and you don’t know what to do, just do one thing or the other, because the worst that can happen is that you will have made a terrible mistake.