That requires quite an imaginative leap because it's hard for me to imagine that my biography would be of much interest to anyone, and because I'm a fairly private person, the notion doesn't appeal to me.

I figured that to be a writer I would need to have been born in the nineteenth century, be British, or have three names. So I turned my sights elsewhere . . . to acting.

I always think, OK, this is good, but I'll do it better next time. "And so we beat on, boats against the current. . ." It may not be the recipe for a life of contentment, but that imperfectability is what makes writing such an engaging endeavor, something you can do for the rest of your life and not get bored.

The trajectory of my writing has moved further and further away from autobiography. My first stories in Confessions of a Falling Woman worked familiar territory - places I had lived, people I knew, my life as an actor in New York - and many were prompted by or grounded in personal experience.

I tell my students, if you're interested in marine biology or llama farming, follow that string. Yes, it will probably take you a longer time to write that book, but it's not a race. That's another great thing about being a writer: you don't age out.

I haven't written anything yet that makes me think, This is it! and I don't imagine I ever will. I don't know how it is with you, but when I finish something, even when I'm pleased with the results, it never quite matches the shimmering vision that was out ahead of me as I wrote.

If you had told me twenty years ago that I would write a novel set in Russia, much less two, I simply wouldn't have believed you. I had no familiarity with Russia or its history, but part of what drives me as a reader, and more and more as a writer, is curiosity, the desire to explore unfamiliar terrain and inhabit alternate lives.