I think that sharpens the intention of a scene and clarifies a story's arc. Of course, I don't seek the questions until after I've written a scene - or maybe after I've daydreamed it.

I suppose that it's my impulse to mine, as a writer, these scary parts of ourselves and the world.

With my students, I don't offer any simple tips like that, maybe because my own process is pretty messy, but when we workshop we talk a lot about the deeper subject, which is what the story or novel is about. I think defining a narrative's themes can lay bare a narrative's tensions.

For me, even when I was pregnant, I wondered, Should we even have children if we're bringing them into this horrible, scary world? But I did have a child, despite these fears - or because of them - and these fears are both contemporary and as old as time.

I was interested in writing about gender in this future world where progress has not only halted but turned backward. On another note, sometimes the personal is not so politically correct, and what we are turned on by can't be made to behave.

All crises, once averted, become jokes.

I am glad it's [California novel] resonated with people because, for me, most apocalyptic novels aren't scary, because they feel so very far off.