I have a scenario but almost always it's entwined with at least one person to begin with. Then I sort of expand from there and I'm thinking about books novels. I've got these scrolls of paper that I hang up in my office and this is my idea room, my nightmare factory, and I have a big title at the top of the scroll and on the left hand side I have these character sketches on the characters, and then once I figure out who they are I can figure out what they want and once I figure out what they want I'm able to put obstacles in the way of that desire, and that's where plot springs from.

I want to build as many worlds as possible - each a version of ours with a crack running through it - and not be anchored to any of them.

Writing is an act of empathy. You are occupying and understanding a point of view that might be alien to your own--and work is often the keyhole through which you peer.

I think my leap into TV and movies and comics is in a way natural because I'm a visual storyteller. If you look at any one of my short stories or novels, they sort of unscroll cinematically. Every scene is concrete in my mind. I can walk around the room and pick things up. I can describe at length every feature on the character, though I might only supply a glimpse of this on the page. So if I'm writing color into that I'm also writing texture, I'm pushing the image more than anything else.

People talk about me as masculine. Because of the way I walk and talk and crank out pull-ups and smell like bacon.

I grew up with guns. For my 16th birthday, in fact, I received a .357 instead of a car. But there was nothing playful about them; they were tools.

The High Divide, a novel about a family in peril, is haunting and tense but leavened by considerable warmth and humanity. Lin Enger writes with durable grace about a man’s quest for redemption and the human capacity for forgiveness.