I always felt a weird obligation to be adventurous.

That's why I have to be a fiction writer, because I can't remember what just happened or where I went last week or what movie I just watched with my husband. I'm better off just making things up.

I'm of the people in the bar and the people in my stories. They are my tribe.

Men didn't understand that you couldn't let yourself be consumed with passion when there were so many people needing your attention, when there was so much work to do. Men didn't understand that there was nothing big enough to exempt you from your obligations, which began as soon as the sun rose over the paper company and ended only after you'd finished the day's chores and fell exhausted into sleep against the background noise of I-94.

Any of us who listen to the news or listen to stories our neighbors tell are accustomed to violence. We have to decide then to ignore the violence and create a gentler world in our fiction, or to heighten the violence through the use of point-of-view in order to explore it and gain some insight and understanding. Since I'm living with the violence and trouble in my brain, it's kind of a relief to write about it, to get it on paper, to put it in context, to find meaning in it.

My donkeys are Jack and Don Quixote. They're very smart, very cautious. Much of what people consider stubbornness in donkeys is actually cautiousness.

The great thing about fiction is that I don't have to settle on an answer to any troubling question, or even a solution. I hope that my stories serve as explorations and help show readers how and why real-life women don't always make the "correct" decisions in the face of economic and sexual troubles. We all screw up, but the women I write about don't have back-up plans or money in the back or resources to fix what they have broken.