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 talk about it a lot to my students. Musicality never came up in any of own writing education, and I can see why - we don't have the vocabulary for it. Phrasing is intuitive, and its difficult to articulate when it's on and when it's not.

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.

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

Sometimes I can listen to music - sometimes there's no choice, especially if I'm out writing at a coffee place. But sometimes it's too distracting. If I'm listening to something I really love - I have to stop and give everything over to it. I'm listening to its structures, its melodic lines, the bass. It takes up too much of my head - in a good way.

One way to be aware of it, to teach to yourself, is simply to read work aloud. I love reading the endings of books aloud when I start nearing the end.