I wrote the first draft of my first novel at Michigan, and then I wrote the first draft of 'Salvage the Bones' at Stanford. So I workshopped the entire thing.

There is laughter, shrill calls. Everyone is flirting, saying in nudges and jokes and blushing what they would do in private

I feel like so much of what happened in the Delta over the decades since slavery was abolished seems much closer in the Delta, and maybe that's because sharecropping was a fairly recent phenomena. I feel like the past is closer and it bears even more heavily on the present there than it does in the rest of the state.

In the past, I've felt like an outsider, with New York the center of everything literary, but right now, there are new opportunities being created that let us tell stories in the South, whether the medium is writing or TV or reality TV.

I feel like the kind of people I write about are the kind of people I grew up with, the families that I know in my community. Most everyone is working-class, and there are some intact families, but a lot of families aren't.

My father owned pit bulls when I was young. He sometimes fought them. My brother and a lot of the men in my community owned pit bulls as well: sometimes they fought them for honor, never for money.

Speaking specifically about the memoir, I know that's a criticism that people can have about my work. When I look at the young men's lives, if they're reduced to the worst thing they've done, then it's easy for them to become a stereotype. I keep running into that with newspaper articles that are very short.

I was thinking about the difference in voice between the different characters. Each voice has to be unique. Hypothetically you should be able to read each chapter without the heading that tells you who is telling the story.

I see so many talented writers of color struggling to get their work out to an audience. I know that's the case for all writers - everyone's struggling for attention - but I do think that for writers of color it's harder, and for women it's harder, and for regional writers it's harder, too.

My mom worked as a housekeeper, and I saw her relationship with her employers - how on the one hand she spent more time with these women than with a lot of her friends, and how in certain ways they were friends. But then they weren't.

I think that we're just too invested in that myth that we are not connected, and are all potential millionaires if only we put in the work. I think that's destructive and ignores history and is one of the reasons we as a state are consistently at the bottom of all the lists because we handicap ourselves.

That's why I write fiction, because I want to write these stories that people will read and find universal.

I think that we need to be more aware of how we are all interconnected, and how we actually need to invest in safety nets and in education, and that we need to come to the realization that health care is a human right and try to provide that for people.

I feel like if you aren't honest and if you don't let go and ease up off of the narrator, then the story doesn't take up a life of its own, and the characters can't take up a life of their own. You handicap the story when you try to protect your characters.

I'm a failed poet. Reading poetry helps me to see the world differently, and I try to infuse my prose with figurative language, which goes against the trend in fiction.