I do think that the idea of writer's block can be very self-defeating for most writers because it's taking a lot of things that are not only real problems, but that are manageable, solvable problems if you look at them in an individual fashion, and lumping them under the umbrella of something mysterious and vague, which makes it very, very difficult to address what's going on.

Tom, my husband, who converted to Judaism when we got married, and as a consequence, we were learning about historical conversions to Judaism. Really, every time it pops up, it's very strange.

I may be the person who put "dieselpunk" into the conversation. I have always been a reader who reads in a really broad way. I read genre writers and I read literary fiction and I read books by dead people.

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.

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

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

I was working on the book, but in a very subterranean kind of a fashion. And I think that giving yourself permission to respect that, without being lazy and not doing work when you could be doing work and just don't feel like it - that's a different balance that can be complicated to strike.