I started writing it the day after Sept. 11. I was living in New York City. We didnt have any phone service and we didnt have any mail. Like a lot of writers do, I started to write in a voice that I missed.

Baby Girl," I say. "I need you remember everything I told you. Do you remember what I told you?" She still crying steady, but the hiccups are gone. "To wipe my bottom good when I'm done?" "No, baby, the other one. About who you are.

No one tells us, girls who don't go on dates, that remembering can be almost as good as what actually happens.

Everyone knows how we white people feel, the glorified Mammy figure who dedicates her whole life to a white family. Margaret Mitchell covered that. But no one ever asked Mammy how she felt about it.

The point is, I can’t tell you how to succeed. But I can tell you how not to: Give in to the shame of being rejected and put your manuscript—or painting, song, voice, dance moves, [insert passion here]—in the coffin that is your bedside drawer and close it for good. I guarantee you that it won’t take you anywhere. Or you could do what this writer did: Give in to your obsession instead.

Stuart stands and says, 'Come here,' and he's on my side of the room in one stride and he claps my hands to his hips and kisses my mouth like I am the drink he's been dying for all day and I've heard girls say it's like melting, that feeling. But I think it's like rising, growing even taller and seeing sights over a hedge, colors you've never seen before.

I've become one of those people who prowl around at night in their cars. God, I am the town's Boo Radley, just like in To Kill A Mockingbird.