Fundamentally I think we all write the kinds of work we'd most like to read. Or we try to.

As soon as you start to question your own intent while you're still in the process of discovering your story, you're in trouble because you've pulled out of that unconscious space that is so necessary in the beginning of the drafting process.

My mom was a big Elvis fan and a general pop culture buff, and so I grew up in a house filled with what were then called "movie magazines,"Before Elvis when Rhona Barrett wrote her column about the stars. And so it seeped in.

I don't mind being called a "feminist," as I certainly embrace the tenets of feminism, though it does feel a little sad to me that we need to call a novel "feminist" simply because the female characters are interesting and strong.

I've always gone with Kafka's model of establishing the world from the first line, as in Kafka's famous line from Metamorphosis, "Gregor Samsa woke up from uneasy dreams to find himself transformed into a gigantic insect" (or beetle or cockroach, depending on the translation). I have to have that first line before I can go further.

I'm not conscious of my own themes as I write first drafts, no, and in fact, I work hard to stay in that unconscious space and not ask myself what the novel is about or what my metaphors might mean because then, I think, you're just dead in the water.

I could have a lot of fun with Michael Jackson, I'm sure.