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.

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.

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

I think one's person's unlikeable is another's lovable.

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.

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