The biggest problem in the fictional treatment of sex is that it's not treated as part of the story but as a pause from the story. The best sex scenes in fiction are the ones that advance the story.

I have even taught classes on writing about sex, and I've looked closely at different writers' sex scenes. On the level of craft I've given it a lot of thought. The pitfalls are simple: It can sound clinical or medical, which isn't right, or pornographic, because the characters disappear.

Even Jack Kerouac, who famously said, First thought, best thought, benefited from editing. His earliest works are the most edited, and they're the best of his writing.

But revision is a creative act, not merely an analytical imposition of rules of style on a more creative first draft. That's a myth - that the first draft is more creative and everything after that is ruining creativity.

I believe in art, and more fundamentally the freedom to express one's self creatively. People don't know yet what they'll ultimately believe in or how they'll organize their lives. They're kind of in limbo.

I am always interested in characters who are in these kinds of transitional moments in their lives, when it's not clear where they're going to end up. It's interesting territory for fiction.

It's about transitioning from adolescence, when you live together with parents and see each other every day, to the era when you don't live together and start to grow apart and have to figure out how you're going to have an adult relationship.

Living in the world of the workshop, which I do as a teacher, you have to be articulate about craft. And that often involves imposing analysis on work that's in a pretty raw state.

The key is to remember a sex scene is a scene of dramatic action and psychological development. You need to pay attention to emotion and to a character's self-awareness or lack of self-awareness.

Knowing that we'd meet Ruby at the point where she stopped believing, I knew I was also going to have to deal with what you do with your capacity for belief if you don't have an object for your belief.