Get inside her head. Get inside any character's head and ask what they want in this scene. And if you work from the perspective of what they want, there's not going to be any wrong answer. There's going to be some boring answers, but none of them are going to be wrong. As long as she has agency, then you're on the right track.

I wish I could say confidently that pacing remains my weak point, if you could talk about your own stuff without sounding like you're self-obsessed. But I think you kind of have to be.

If you're not interested in your work, you're not doing it right.

When I'm looking for a strong female character, or a strong character at all, I'm looking for a character that has a purpose in that story, that has an interior life of some sort. They don't have to be physically strong; they don't have to be morally strong or ethically strong, because men and women come in a huge variety of all of those things. Emotionally, ethically - I'm less concerned with that. I just don't want them to be props. That's the only thing that offends me.

You can't write something actively trying to please everyone - you're going to end up with watery soup that way. You just have to write stories you would want to read and hope that people like them.

Having my brain doing different work is helping me a lot in terms of retro-feeding from the other experiences. It makes me feel inspired, looking forward to the projects and wanting to work harder.

The reader is not the customer. The retailer is the customer. So I try to have as much interaction with the retailers as possible because those are my customers.