Something I always tell students is, when you're writing something, you want to write the first draft and you want it to come out easily in the beginning. If you're afraid to say what you really have to say, you stammer. [...] You're judging yourself, you know, thinking about your listener. You're not thinking about what you're saying. And that same thing happens when you write.

If you just breathe, and go slower, you will have enough energy. It's really important because there are people who wait in line, and your work has changed their lives. You will need to listen to them because they are also going to feed you and give you confirmation of the prayer you asked before you spoke.

For example, there's no word emocionó in English, so I have to say, "You, you really emotioned me," It's more precise, even though it sounds odd. "My father emotioned me." Or "That performance really emotioned to me."

And the nice thing about writing a novel is you take your time, you sit with the character sometimes nine years, you look very deeply at a situation, unlike in real life when we just kind of snap something out.

Perhaps the community you mentioned might not come to the story. Sometimes you have to take the story to them, and perform it, and that's another way that I get an alternate point of view that isn't the official version of history out to a community. I feel that's what I've been doing since Caramelo.

I learned when I was a student in Connecticut. I had an Italian-American teacher who gave me classes for a week, and then said, "Okay, you're ready." And I wasn't ready. I didn't know how to drive!. But he knew the policeman who gave the test. And that's how I got through.

If you have potato chips, that means, "Who's coming over?"Wealthy people - white people who're wealthy - have a bag of potato chips that's folded over with a clip. "What? There's some left over?" In my house, if there was a bag of potato chips, we'd pour it in a bowl and everybody would just dip in till it was gone.