It's a rare memoir that can tell a story that seems brand new, but Nina Here Nor There does it. This one-of-a-kind narrator undertakes a quest that is unmistakably timely. But in its yearning for awareness and connection, this book feels timeless.

I am always interested in characters who are in these kinds of transitional moments in their lives, when it's not clear where they're going to end up. It's interesting territory for fiction.

It's about transitioning from adolescence, when you live together with parents and see each other every day, to the era when you don't live together and start to grow apart and have to figure out how you're going to have an adult relationship.

I remember being in the same position as Ruby, when I no longer believed in God as I was raised to believe. But I still am a believer - it's a personality trait, to be someone who can believe. But then what do you believe in?

A knowledge of craft is not the enemy of creativity. You sit down to write and realize, today's going to be a really unconscious day and I'm going to let it all out. Or, today's going to be analytical. And some days all mixed up.

Not a lot of contemporary fiction is written about brothers and sisters. Salinger's Franny and Zooey was an inspiration for me. In Franny and Zooey, the sister gets in trouble and the brother comes to help her out. But I wanted to make sure that in my novel the sister had more to do than lie around on a sofa muttering, which is what Franny does for two-thirds of Salinger's novel.

I have even taught classes on writing about sex, and I've looked closely at different writers' sex scenes. On the level of craft I've given it a lot of thought. The pitfalls are simple: It can sound clinical or medical, which isn't right, or pornographic, because the characters disappear.