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.

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?

The key is to remember a sex scene is a scene of dramatic action and psychological development. You need to pay attention to emotion and to a character's self-awareness or lack of self-awareness.

Living in the world of the workshop, which I do as a teacher, you have to be articulate about craft. And that often involves imposing analysis on work that's in a pretty raw state.

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.