Historical novels are about costumery. I think that's the magic and mystery of fiction. I don't want to write historical fiction but I do want the story to have the feel of history. There's a difference.

I don't think that stuff is gone - I just don't want to dwell on it. There's a difference. As I said, I think we all have tendencies as writers, and I think we all have experience that we bring as readers to each project.

What if loving something means you should mostly feel frustrated and thwarted? And then a little ruined, too, by the pursuit? But you keep coming back for more?

Usually, when you're talking about work with other writers it's because something seriously bad is going on with your work and you've absolutely thrown out a lifeline and you're hoping that someone will help you with something. Either there's some bad feeling you have about the work, or sometimes it's not specific - just kind of solidarity.

I really try to forget. I only look at my old works if there's an interview and someone asks me about it. Otherwise, it's not even in the rearview mirror.

Yeah, and the language the "we" has, and the character the "we" has. Because that was the part of the book that I didn't plan out, but the part that I was most curious about as I was writing. You know what you're doing, but you're sometimes still sort of curious as you're writing it.

Like most people, Im fascinated by characters who are completely flawed personalities, riven by anguish and doubt, and are psychologically suspect.