I do whatever is necessary in order to maintain the equanimity we all need to withstand the disappointment and rejection that are the lot of every writer, no matter where we are in our careers.

There's nothing confessional about crafting and shaping a story out of a lived life. In fact, it's quite the opposite - the writer has to be able to transcend the life, to see it as if standing outside of it, in order to be able to make something of it. There's something enormously satisfying and gratifying about crafting something, taking all that chaos and giving it shape.

I don't want to lean back into the past, or forward into the future. I don't want to wish the present moment away.

When I started meditating, even doing yoga, I felt like it was hard to allow myself to develop any other kind of practice [outside of Judaism], like I was somehow being untrue to my heritage, and that was something I had to get over and was probably the greatest revelation to me.

It is in the thousands of days of trying, failing, sitting, thinking, resisting, dreaming, raveling, unraveling that we are at our most engaged, alert, and alive.

I found myself doing so much public speaking, more and more and bigger and bigger.

A writer with her work needs to be like a dog with a bone all the time. She needs to know where she's hidden it. Where she's stored the good stuff. She needs to keep gnawing at it, even after all the meat seems to be gone. When a student of mine says (okay, whines) that she's impatient, or tired, or the worst: isn't it good enough? this may be harsh, but she loses just a little bit of my respect. Because there is no room for impatience, or exhaustion, or self-satisfaction, or laziness. All of these really mean, simply, that the inner censor has won the day.