The book works better if I know everything I can about the ending. Not just what happens, but how it happens and what the language is; not just the last sentence, but enough of the sentences surrounding that last sentence to know what the tone of voice is. I imagined it as something almost musical. Then you are writing toward something; you know the sound of your voice at the end of the story. That's how you want to sound in those final sentences: the degree that it is uplifting or not, the degree that it is melancholic or not.

My brain is sending poison to my heart.

I've always been a fan of the 19th century novel, of the novel that is plotted, character-driven, and where the passage of time is almost as central to the novel as a major minor character, the passage of time and its effect on the characters in the story.

Adolescence-is it the first time in life we discover that we have something terrible to hide from those who love us?

The ability to see the future can be a burden, and the younger you are and the more isolated you feel, maybe the more of a burden it is.

I will tell you what is my overriding perception of the last twenty years: that we are a civilization careening toward a succession of anticlimaxes – toward an infinity of unsatisfying, and disagreeable endings.

Our memory is a monster; you forget it - it does not.