My characters tend, if wounded, to be emotionally resourceful. Often they're in that way station between when loss happens and when it can be fully comprehended. In the meantime they're fighting to get something back, and occasionally they prevail in surprising ways.

I think writers tend to hear a different message from the ones our friends and acquaintances intend. We see what's revealed, which makes us dangerous.

I believe that we can access stories, and voices from those around us, more easily often than from our own imperfect memories.

I'm always relearning things I thought I'd learned for good a while back.

When I teach, I try to assign writers from whom I can learn.

I think it's probably better to make a region your own, and then maybe you can go somewhere else, but a lot of great writers have stuck to one region.

I think the second, or outsider's, perspective can come as you layer a story. It's as though you've grabbed a secondary character and asked them, "What do you make of this guy?" and the hope is that the answer surprises you as the writer.