I am deeply Catholic and always will be, but I'm no longer a member of the church. I left in 2003 because of the sex abuse scandal.

I wrote before I could write. I got my hands on a journal, maybe a hand-me-down; I had three older siblings. My first entries are in the handwriting of the sister closets in age (5 years my senior). She must have gotten tired of my dictations because she gave up and then my blocky scrawl shows up. I wrote plays as a kid mostly.

My childhood was marked by the great fear of nuclear holocaust. We practiced our Civil Defense Drills, lining up in hallways, curled to the floor, but we knew we'd die or, worse, survive only to suffer radiation and slow death.

I believe that one of the most damning things about our culture is the adage to never talk religion and politics. Because we don't model this discourse at the dinner table and at Thanksgiving, we don't know how to do it well and we're not teaching our children about the world and about how to discuss it.

I always think I know the way a novel will go. I write maps on oversized art pads like the kind I carried around in college when I was earnest about drawing. I need to have some idea of the shape of the novel, where its headed, so that I can proceed with confidence. But the truth is my characters start doing and saying things I don't expect.

I try not to divide plot and character. I get to know a character by what they want and fear and how those internal forces play out in their lives.

I want women writers to write boldly, wildly, deeply. I want them to feel really liberated to tell the brutal truth, however they see that truth and are moved to tell it.