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 tend to listen to my friends and family empathetically, and I try to help work through their problems from the inside. I try to adopt their thinking.

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.

When you teach, it's sometimes necessary to consciously not write for a month or two - and then pick a time in the future to sink back in. It makes you less frustrated and more in control. I do best when I give myself breaks and come back hungry.

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

I went back into the older stories and reworked them, because I became a better writer over the years and could spot flaws. I loved having another chance to make them stronger, and to bring them closer to me, made them less like a greatest hits compilation, and more like something written in the same extended burst.

I'm suspicious of epiphanies, because they so rarely last.