Maybe one of the reasons that I don't ever experience myself as having writer's block is I don't feel that I need to be producing every minute of every day.

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.

[Michael] Chabon, who is himself a brash and playful and ebullient genre-bender, writes about how our idea of what constitutes literary fiction is a very narrow idea that, world-historically, evolved over the last sixty or seventy years or so - that until the rise of that kind of third-person-limited, middle-aged-white-guy-experiencing-enlightenment story as in some way the epitome of literary fiction - before that all kinds of crazy things that we would now define as belonging to genre were part of the literary canon.

I think that we're all always just working on finding how that balance functions for us, given today's circumstances.

It's always the case for writers that when there are limitations, you have the opportunity for your creativity really to blossom and to become deeper and fuller and to move in directions that you wouldn't have discovered on your own.

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.

The development of the plot of the novel leads to a single point, and it's my opinion that the ending that the novel has, which is a somewhat ambiguous ending, is the only logical ending given the structure of the book as a whole.