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.

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

I was writing very early, like I was involved in our high school literary magazine, which was called 'Pariah.' The football team was the Bears, and the literary magazine was 'Pariah.' It was great. It was definitely a real sub-culture. But I wrote stories for them.

From a distance, it makes perfect sense that the people and the things you think will save you are the very ones that have the power to disappoint you most bitterly, but up close it can hit you as a bewildering surprise.

They both seemed to understand that describing it was beyond their powers, the gratitude that spreads through your body when a burden gets lifted, and the sense of homecoming that follows, when you suddenly remember what it feels like to be yourself.

I'm used to adapting my novels for feature film - it can be challenging to cut and compress three or four hundred pages into two hours of dramatic action.

If anything, he seemed a little lonely, all too ready to open his heart at the slightest sign of interst.