I do love the challenge of screenplays. They're so difficult, such an alien form. It makes them endlessly fascinating. Something I can't keep my fingers out of.

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.

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.

There's no really other way to learn writing than by writing. So accelerate that as much as you can. The more you write, the better you'll get. What also helps, though, is walking away from broken stuff. Not everything's going to work. Killing two years of your life trying to resuscitate a dying novel, I don't know. Why not just write a different one? You'll have more ideas. You can't help having ideas.

The stories I respect most aren't those with the rich, dense prose, but those which achieve a rich, deep effect with simple little nothing-sentences, lines I won't possibly remember, because they simply functioned, didn't draw attention to themselves, were properly humble.

The truth is, poverty's the environment for alcoholism, and the reservations aren't rich. Maybe cleaning people up in fiction is just as dangerous as presenting them unfiltered.

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