When people say to me, 'Why are you so good at writing at women?' I say, 'Why isn't everybody?' Obviously there are differences between men and women - that's what makes it all fun. But we're all people. There's a lot of good writers who are very humanist, but still manage to kind of skip fifty-five per cent of the race. And I just don't get that. Not to be able to write an entire gender? To me, the question isn't how do you do it? It's how can you possibly avoid doing it?

I'm the least confident person in so many ways. But I believed that if somebody gave me the chance to tell a story, I would tell a story [well enough] that the person who gave me the chance would get their money back.

It was only when I got to college that I realized that the rest of the world didn't run the way my world was run, and that there was a need for feminism. I'd thought it was all solved. There are people like my mom, clearly everyone is equal and it's all fine. Then I get into the world and I hear the things people are saying. Then I get to Hollywood and hear the very casual, almost insidious misogyny that just runs through so much of the fiction. It was just staggering to me.

Somebody once asked me if I have anything like faith, and I said I have faith in the narrative. I have a belief in a narrative that is bigger than me, that is alive and I trust will work itself out.

Back in my day, which was about a week and a half ago, we took our lumps and we got back up and we cried like babies and quit and then put on weight.

You take people, you put them on a journey, you give them peril, you find out who they really are.

People want the tragedy. They need things to go wrong, they need the tension. In my characters there’s a core of trust and love that I’m very committed to. These guys would die for each other, and it’s very beautiful. But at the same time, you can’t keep that safety. Things have to go wrong, bad things have to happen.