I always think it's useful to get an outside opinion.

We're taught to find the antecedents to our adult failures in childhood traumas, and so we spend our lives looking bacwards and pointing fingers, rather than bucking up and forging ahead. But what if your childhood was all a big misunderstanding? An elaborate ruse? What does that say about failure? Better yet, what does that say about potential?

A friend of mine urged me to see my pain as an opportunity. And since the same psychic that contacted Dion Fortune had told me that I was a "teacher" - she didn't mean at Columbia, she meant in the spiritual sense - I decided my affliction was the universe telling me that it was time to stop writing fiction and become the spiritual guru I was clearly meant to be.

To believe you're being psychically attacked gives you an understanding of your illness that no Western doctor can provide; this can be reassuring when you've exhausted the Western doctor tool kit, and the doctors are sending you to acupuncturists for pain relief.

As such, anything is always possible, even if your protagonist is a plumber. But it's the possibility, the limitless possibilities, of any fake life, that make writing about it so challenging.

I don't usually read my reviews. I've noticed older reviewers are much more bothered by the plot complications. Younger reviews don't seem to be bothered by the complications at all.

Like Semmering Academy, the Grove School was a Gothic pile of bricks run by 1950s-era chalk drones, which maintained its cultural viability by perpetuating a weirdly seductive anxiety throughout its community. Mary herself was a victim of the seduction; despite the trying and repetitive emotional requirements of her job, she remained eternally fascinated by the wicker-thin girls and their wicker-thin mothers, all of them favoring dark wool skirts and macintoshes and unreadably far-away expressions; if she squinted, they could have emerged intact from any of the last seven decades.