I think the one reason that writers marry other writers - one of the reasons that I married another writer - was, I fell in love with that writer. But second of all, I had been married before and a source of marital strife was me needing to go away for a couple of weeks to write or it's Saturday and I think I just need to work today and not hang out with you.
You should never read online comments if you want to keep thoughts above the belt.
As a writer, you want to go somewhere else sometimes. You want to vary the terrain that you're exploring.
I obviously read and adore traditional fiction. I teach traditional fiction, I also teach all kind of not-so-traditional fiction. And since I'm such a plot buff, and I'm really such a narrative buff, I can't seem to relinquish my - not just reliance - but excitement about those traditional techniques.
I want the plot to be as complicated as possible. Usually I'll write all the way through to an end, and then I go back and try to fix the ending so that it makes sense. I don't think out the plot ahead of time.
The belief that one's suffering has a greater cosmic purpose, and is thus more exciting and more noble, well, it made a lot of sense to me.
If I'd done the discovery before I wrote the book, then there would be nothing to discover. It would feel dutiful instead of exciting.
I think female-female relationships interest me so much more because they're so encoded. There is kind of a psychic element that happens within groups of women. Whenever I hang out with my female friends, I feel like context is never needed.
Every once in a while when I get a migraine, I like to think, "Who hates me today?"
I don't usually read my reviews. I've noticed older reviewers are much more bothered by the plot complications. Younger reviews don't seem to be bothered by the complications at all.
I developed a crazy face rash after I got engaged to a guy I must have known somewhere I should not marry. I hadn't articulated this to myself, so my face told the world instead.
I don't think women are, by definition, toxic to one another. I think women are simultaneously competitive toward and idolatrous of each other. I thrive on that challenge and that desire.
I surround myself with women who inspire me to be more ambitious, and who constantly astonish me with their magnetism, style, and smarts.
If, at some future point, my face collapses around my eyes, I'd probably do something about it. My eyes are where I live, and if people couldn't see them, no one would know me.
I'm at that age where I notice friends checking out my face and wondering, Has she been Botoxed? There's a new map there people that are trying to read. I think if I did get any kind of enhancement I would be very public about it. I don't want people wondering - I want them to know.
I have a daughter who, when younger, possessed no barrier between her emotional self and the outside world. Her emotional insides spilled out all over, and, especially when I was sleep-deprived and probably a little paranoid, this really threatened me. It was as if she were embodying and expressing the insecurities and freaked-outedness I never express, and which I've learned over the years to keep hidden.
We want to believe we couldn't be replaced, and that the people we love are irreplaceable.
When I was writing my first draft, and feeling grandiose, I e-mailed an artist/clothing designer I know and suggested we collaborate on a fashion line inspired by the outfits my characters wore. I regret that we never did that.
When my husband first read a draft, he said, "You spend too much time describing the characters' outfits." He was right. I removed much of the clothes talk, but quite a bit remained.
Structure is, for me, the most fun challenge about writing novels.
I don't think fake people living in a fake house in a fake suburb are any less dismissible or believable than a fake psychic attending a fake school in a fake town. Nothing's inherently believable about any kind of fiction, because all of it's untrue.
As such, anything is always possible, even if your protagonist is a plumber. But it's the possibility, the limitless possibilities, of any fake life, that make writing about it so challenging.
Whether I'm writing about plumbers or psychics or psychic plumbers, I want to find a creative space that imprisons me usefully, so I can deviate with purpose.
I like playing with a popular cliché and making it my own by half-embracing it, half-disemboweling it.
I wish somebody knew whether or not I'm Jewish.
"I wish somebody knew whether or not I'm Jewish."
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