You want to feel that your reader does identify with the characters so that there's a real entry into the story - that some quality speaks to the individual.
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I was with my dad 20 years ago as he was dying. I was there at the moment of his death, and I kept wondering the whole while what it must feel like from his point of view to still be there thinking, hearing all that was going on as people came and went, and life continued all around him.
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By limiting or denying freedom of speech and expression, we take away a lot of potential. We take away thoughts and ideas before they even have the opportunity to hatch. We build a world around negatives - you can't say, think, or do this or that.
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I always tell my students, 'If you walk around with your eyes and ears open, you can't possibly live long enough to write all the novels you'll encounter.'
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Sometimes I do feel like I write the same story again and again. And for me, I am always looking for a place with a kind of redemption.
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It's one of the most basic laws of human nature, isn't it? The more we are denied something, the more we want it. The more silence given to this or that topic, the more power.
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One day, when my son was eight, he came into the kitchen while I was cooking and said: 'You put bad words in your books, don't you?' No doubt he had overheard my mother, who often tells people who ask about my work: 'Well, you'll never find her books in the Christian bookstore.'
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I like to think I put some of myself in every character.
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I feel very protective in the first draft, when all the pieces are coming together. I work in a way that is not linear or chronological at all, even with the short story. I will just be writing bits and pieces, and then when I have all the pieces on the table, that for me is when it feels like the real work begins.