It does no one any good to say their novel sucks if you don't have an idea how to make it better, how to approach it from different angles and make it work. It's obviously a subjective process, right? But the thing about subjectivity, at least in the classroom, is that you're banking on your professor's subjectivity to be both personal and professional - that he or she has some sense about the world outside the workshop.

And there are rules for crime fiction. Or if not rules, at least expectations and you have to give the audience what it wants.

I think, generally, the flawed anti-hero is much more interesting than the normal hero, and that's really what we're talking about here as it relates to outlaws or renegades.

I was thinking a lot about the aftermath of bad choices, how people deal with the trauma of having survived trauma, if that makes sense, and so I wrote about this character's last day on the job, how after spending 15 years pretending to be a rabbi, he'd in effect become a rabbi.

I found myself thinking a lot about my own spirituality. What it means to be Jewish, what it means to forgive, what it means to sacrifice, but mostly what it means to be alive, how to be a better person, how not to make the mistakes my parents had made. I guess that's what one might typically call a midlife crisis.

The best piece of advice I ever received about being a writer came from my brother Lee. I was just starting out and he told me that if I wanted to have a long career, I had to be versatile, that I shouldn't just think of myself in one way, because there would come a time when maybe that one thing wasn't working out for me - and I'd still want to earn a living as a writer.

I'm not Pollyanna - I know that my personality and my opinions and how I approach the teaching of writing maybe isn't exactly how it's done traditionally in the academy...wherever that academy is...but, you know, the academy is broken as it relates to many creative writing programs.