I have actual dreams of Bruce Springsteen calling me up on stage to wear a bandanna and play rhythm guitar next to Little Steven.

I don't really distinguish between sympathy and honesty when I'm writing. The two go together - I'm interested in inhabiting my characters, seeing the world through their eyes.

It just so happened that for most of my life I've lived in the suburbs.

Back then, when everybody thought the world would last forever, nobody had time for anything.

He'd never had to make the adjustments and compromises other people accepted early in their romantic careers; never had a chance to learn the lesson that Sarah taught him everyday--that beauty was only a part of it, and not even the most important part, that there were transactions between people that occurred on some mysterious level beneath the skin, or maybe even beyond the body.

She told her therapist it reminded her of coming home the summer after her freshman year at Rutgers, stepping back into the warm bath of family and friends, loving it for a week or two, and then feeling trapped, dying to return to school, missing her roommates and her cute new boyfriend, the classes and the parties and the giggly talks before bed, understanding for the first time that that was her real life now, that this, despite everything she'd ever loved about it, was finished for good.

I think I was always writing books that had very clear scenic structures. I do tend to write in scenes. I do tend to have a fair amount of dialogue. And I do tend to use stories that don't sprawl all over the place, that have a very sharp focus in terms of how they unfold in time.