Even a documentary portrait of a person that tries to be very accurate is shaped by the filmmaker in so many ways.

I do want to write about social/cultural/historical context. I'm interested in relationships, in character, but within a specific social context. Which is kind of a political thing, I admit that. But it's what I'm interested in, and it's how I believe human behavior is legible.

My teaching forces me to articulate what I think works in a piece of fiction and how I think it works. All of that gives me energy as a writer.

For me writing is an organic process that starts with engaging the language and then thinking about the structure of the novel as you move along. Especially in revision you start to notice correlations. Things come up, not self-consciously, because you're busy feeling your way through sentences and trying to push the language into new places.

The issue isn't, Am I good enough? No. The issue is, Do I not have any other choice? Will and desire don't matter. Ability doesn't matter. Need is the only thing that matters.

I think it's harder than ever to be an artist. I think that you end up, especially as a middle-aged person, you pay such big consequences for saying, 'I'm just going to devote my life to making art,' or 'I'm going to devote my life to writing novels.' You end up with no resources.

I locate a great deal of the power of Occupy Wall Street in the name itself, 'Occupy Wall Street,' or '#OccupyWallStreet.' It works because the name contains everything you need to know: the tactic and the target. The name is also modular. You can create your own offshoot in your own city.