If there was no risk, it wouldn't be art. It wouldn't be worth making. There is risk even in a fairy tale. Fiction is closest to pure narrative, and pure narrative is simply the logic we try to impose on an ever-changing reality.

The greatest thing about form and convention is that it saves you from having to reinvent the wheel. Now, whether you mount the wheel to a horse carriage or a Formula One racing car, make it plain or give it spinning rims, those are all craft decisions. But the fact of the wheel remains: it will turn if you set it down. That's what I mean about the beauty of the gifts genre can offer.

Sometimes we say we want an end to hate or racism or sexism. But we all participate in keeping these structures alive. If everyone decided to relinquish the past what would happen to people who feel that there hasn't been proper atonement made to them? And what happens to the person who feels that the constant atonement is their identity?

Unlike other books or TV shows or sometimes life, my narrative worlds are stripped of implicit moral centers. There is only what you bring. That makes the characters risky in every way and the narrative, a journey of change for the reader. But I make the journey as fun as I can.

The Internet is really our meeting place. We have this amazing listserv. Every time I log onto it I feel a sense of pride, because if you log on and say, "Oh I was just in San Diego and I was in a park and I saw a lion," the flurry of replies on average is just like--wow! All these existential questions about what it means to be an African, and never having seen a lion at home, but having seen a lion here. Everything you say turns into this real philosophical debate--it's incredible in so many ways. And it's an invigorating place to be.

You can count on Scandinavian literature for a certain kind of darkness, a modern mythic style.

People think that writing is writing, but actually writing is editing. Otherwise, you're just taking notes