I can say that if you're a writer who happens to be a woman, you'll get a book cover that depicts a woman with no head, or a woman turning away, or a pair of high heels. You have to fight to not get stuck with these covers. In the U.S. women are chick-lit writers unless they prove otherwise, and that's frustrating.

The idea of legitimacy is something I suppose I deal with in my fiction, and in part it's probably a response to my upbringing. When I was growing up I was the middle child, pathologically shy, in a family with a very loud and opinionated older brother, and I felt as if I never had the right to speak. As a result, I simply didn't speak very much.

When I meet people I try to make a joke out of my occupation, explaining that what I do all day is sit alone in a darkened room, flicking through some pages, jumping on a treadmill now and then. I keep my serious work as a writer private, but that doesn't mean it's not serious work - quite the opposite.

While writing, writers are living inside a character or characters, and when the book ekes into the world, writers are living inside the reader. That's more than connecting.

The darkest period of my life, so far, arrived the summer I was pregnant with my eldest son. The future was growing in me with all of its terrifying unpredictability, and I found myself anxious, unable to work and woefully at sea.

The triumph of writing fiction is that by doing so, writers can build a more ideal world in themselves.

I don't believe that fiction is dead. I know there are some people who believe that it's an outdated art form, and that to express truth today you need to work in different forms, to write books where it's perhaps not clear what's fiction and what's memoir. I have nothing against those books and love many of them very much. But we have enough space for everyone, traditional realists and hybrid writers, and experimental writers all.