If I don't write every day for one week or even, frankly, one year, I don't really think too much about that.

Nobody thinks that there were never mechanical horses in the world. Everybody knows that there aren't really golems.

Time is finite and the demands of the imagination and also the demands of the world are infinite, so sort of brokering some kind of agreement between those things is a continual, and for me, and ever-changing challenge.

Trying to talk through and figure out new answers really helps me figure out more about what I'm doing - and what we're all doing.

A lot of people have come up after Brookland and asked, "What happens to her at the end of the novel?" and I will very politely say, well, here are the two possibilities.

We [me and husband ] had been learning about the Khazars, and I had read Michael Chabon's novel [Gentlemen of the Road] the year before, so all these things are kind of roiling around in my brain, and then I slipped on the ice and I broke my wrist, and it had to be surgically repaired.

There are as many different ways to write a novel as there are varieties of human consciousness, so I am totally delighted if people want to use words that come from genres to describe how this book functions because those words are accurate.