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When you are expending much energy on someone else's demise, it's like you weaken your psychic immune system.

Heidi Julavits

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Heidi Julavits
Age: 56
Born: 1968
Born: April 20
Author
Journalist
Novelist
Portland
Maine
Psychics
Immune
System
Energy
Else
Expending
Someone
Weaken
Much
Demise
Like
Psychic

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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.
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I guess what I find so interesting about memory, and its role in a person's identity, is how the attempt to achieve accuracy requires you to remove yourself from your life in an authorial manner.
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Some people just make me feel mentally endangered. Whatever dark stuff is going on in their head, it's coming at me and I need to escape.
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If I can just stop being so stressed out, maybe my cancer will get better! This is far less scary than treating a disease of unknown etiology.
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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.
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I used to have a really sharp memory. And its loss has proven destabilizing from an identity perspective.
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We want to believe we couldn't be replaced, and that the people we love are irreplaceable.
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I love this idea of the body as a trauma archive!
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As a writer, you want to go somewhere else sometimes. You want to vary the terrain that you're exploring.
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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.
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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.
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You should never read online comments if you want to keep thoughts above the belt.
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We're taught to find the antecedents to our adult failures in childhood traumas, and so we spend our lives looking bacwards and pointing fingers, rather than bucking up and forging ahead. But what if your childhood was all a big misunderstanding? An elaborate ruse? What does that say about failure? Better yet, what does that say about potential?
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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.
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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.
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Whenever I hang out with my female friends, I feel like context is never needed. They can just say two words about something, it's like hearing the first two notes of a song and you can always identify the song. They can just say a word and I know exactly what they're talking about.
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Sometimes it can be useful to read your bad reviews.
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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.
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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.
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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.
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