It's important to look ahead, I think, to shape your stuff for - again - effect. Because it's just so easy to write long, flowy sentences, get lost in them. The hard part's making them matter, making yourself make them matter.

This is form and content and diction and tone and imagination all looking up at the exact same moment: When Molly Tanzer claps once at the front of the classroom.

It's important to look ahead, I think, to shape your stuff for - again - effect. Because it's just so easy to write long, flowy sentences, get lost in them. The hard part's making them matter, making yourself make them matter.

Writing, of course, it's not all in your head. Not talking about the 'manual' act of typing here either, but that, when your fiction's really working, your whole body's involved, and then some.

Life's so much easier when you're not always maintaining two worlds: the one formed of lies, which feels real, and the one you live in, which often feels like lies. So easy to get them confused.

Craft can get you through ninety percent of a piece, but it's art that carries you at the end.

When I am writing a novel, though, then it's usually three or four hours a day. Ideally, right after lunch until three or four, but sometimes picking up again around ten, going until a touch after midnight. I rarely write in the morning, unless I'm on deadline. I do like rewriting in the morning, though. Guess it's the way my brain's put together. Or, the way it's falling apart.