I think each of my books attempts to create its own voice so I'm not even sure I have a signature style, other than certain descriptive tendencies, an interest in the sound of language. Maybe an immersion in place.

I wanted to preserve the feeling of remembering her just months after her death - the raw immediacy of it, so the drafts were really about getting the language right, getting the pitch right, keeping the voice austere and plainspoken.

Sometimes I need silence; sometimes I need voices around - but not too loud or distinctive. I guess it depends on the piece in question, what stage I'm in. I think some voices can help me not to try too hard - especially at the beginning stages. Does that make sense? By some voice I mean, low chatter in the room. When there's low chatter in the room, I'm a little more relaxed, my mind might be a little more open.

I think each of my books attempts to create its own voice so I'm not even sure I have a signature style, other than certain descriptive tendencies, an interest in the sound of language. Maybe an immersion in place.

I start with voice, maybe a sentence. That sentence might embody an image, and I go from there. One sentence to the next. Sound drives the work these days - sound before description.

I think my methods are more suggestive than assertive. Check out those passages again and see what you think.

I think the most reliable way to teach it is through reading work aloud over and over. Many prose writers been encouraged to do that, but that might be changing. Denise was the one who taught me to develop my ear. I never knew how to listen to writing until she started reading her work to me.