I use my fiction to explore my own unconscious issues. I usually don't even know what's going on with me until I'm writing.

I decided that if I was never going to sell anything as long as I lived, I might as well do what I want to do 'cause then at least I would've done what I wanted to do in life. What's that worth?

The writer is both a sadist and a masochist. We create people we love, and then we torture them. The more we love them, and the more cleverly we torture them along the lines of their greatest vulnerability and fear, the better the story. Sometimes we try to protect them from getting booboos that are too big. Don’t. This is your protagonist, not your kid.

If I get ideas independently of the act of writing, they never really fit. So for me, there's no hanging out, waiting for inspiration.

Her fingers moved among barnacles and mussels, blue-black, sharp-edged. Neon red starfish were limp Dalis on the rocks, surrounded by bouquets of stinging anemones and purple bursts of spiny sea urchins.

I wondered why it had to be so poisonous. Oleanders could live through anything, they could stand heat, drought, neglect, and put out thousands of waxy blooms. So what did they need poison for? Couldn't they just be bitter? They weren't like rattlesnakes, they didn't even eat what they killed. The way she boiled it down, distilled it, like her hatred. Maybe it was a poison in the soil, something about L.A., the hatred, the callousness, something we didn't want to think about, that the plant concentrated in its tissues. Maybe it wasn't a source of poison, but just another victim.

Beauty was empty as a gourd, vain as a parakeet. But it had power. It smelled of musk and oranges and made you close your eyes in a prayer.