I couldn't have articulated this process at the time; I just sort of did it instinctually. But now when I talk about this with my students all the time, it's one of the first things I address in memoir classes - that you have to put it all in because you're writing your way into the ending of your own story. Even if you think you know what the story is, you don't until you write it. If you start leaving things out you could leave out vital organs and not know it.

You don't have to write like David Foster Wallace or James Baldwin or Maggie Nelson - indeed, you shouldn't. Those writers are doing it better than you ever could.

I made a conscious decision when I was writing that book to depict in real time how I treated it, and how I thought about it, and how I portrayed it to other people, because I wanted the story to be one of change from that to a more honest appraisal, a more accepting appraisal of myself and other people in that world.

It has been my experience that the people I judge most harshly are the ones in whom I recognize some part of myself.

I saved letters from my boss. There are things in there that are directly transcribed. I was so glad I did that. Sometimes when I was writing the book I wondered if some little writer hobbit part of my brain was back there puppeteering that action. But it really never, on any conscious level, occurred to me that I would write about it. I will say, I thought probably some day there would be an ancillary character in some novel - not in the one I was currently writing - that would be a dominatrix or something.

I see consensual S&M no differently than I see consensual anything: as beautiful, and never any one thing.

I'm always writing to a younger version of myself, or a young woman who is like I was. I want that girl to know that I really existed and that it all went down that way.