In the darkness, two shadows, reaching through the hopeless, heavy dusk. Their hands meet, and light spills in a flood like a hundred golden urns pouring out of the sun.

She wants you to be a god," I told him. "I know." His face twisted with embarrassment, and in spite of itself my heart lightened. It was such a boyish response. And so human. Parents, everywhere.

I could recognize him by touch alone, by smell; I would know him blind, by the way his breaths came and his feet struck the earth. I would know him in death, at the end of the world.

The ship's boards were still sticky with new resin. We leaned over the railing to wave our last farewell, the sun-warm wood pressed against our bellies. The sailors heaved up the anchor, square and chalky with barnacles, and loosened the sails. Then they took their seats at the oars that fringed the boat like eyelashes, waiting for the count. The drums began to beat, and the oars lifted and fell, taking us to Troy.

My mind is filled with cataclysm and apocalypse. I wish for earthquakes, eruptions, flood.

The very dull truth is that writing love scenes is the same as writing other scenes - your job is to be fully engaged in the character's experience. What does this mean to them? How are they changed by it, or not? I remember being a little nervous, as I am when writing any high-stakes, intense scene (death, sex, grief, joy).

What's amazing to me is how many of the issues facing women in the ancient world still linger today. Take Odysseus' wife, Penelope, a brilliant, resourceful woman who ends up in a terrible situation: in her husband's absence, she is being held hostage in her own home by men who claim to be courting her. She tries to make them leave, but because she's a woman they refuse, blaming their bad behavior on her desirability.