I think that, in Hebrew, it's like the language creates a more unique and specific universe even before the story.

When you work on a graphic novel or a film with people you've been together through a lot and you've exposed your secrets and weaker sides to each other.

In America, where writers are preoccupied with the craft of writing, I always try to introduce this concept of the badly written good story. Turning the hierarchy around and putting passion on top and not craft, because when you just focus on craft, you can write something that is very sterile.

When I write, I never know the endings. What I think works in [my] stories is the fact that when I write, I really want to find out what is going on-I'm writing for myself as a reader. It's like when you dream a dream. I want to know what's behind the door. If I navigate, it's from a place that's totally intuitive.

When I was a kid, I wanted to make my parents happy. I'd always say to them, "What do you want me to do? Do sports? Be rich? Be funny?" My mother would say, "Whatever we want from you, you already gave us - we wanted you to be alive, and you made it."

Being published in Arabic is a strong and consistent wish I have. I live in the Middle East and want to be in some sort of an unpragmatic dialogue with my neighbors.

When I started writing my stories, I thought that not only nobody outside my language, but nobody outside my neighbourhood would get them.