Growing up as a mixed-race kid myself, when you are in the middle of it and you're young...you don't think about it consciously. It's your reality.

All that matters to me as a reader are characters. I want characters to be real, authentic, and rounded. I will be digging into characters for at least a month. Who they are. What they are like. Outside of the story.

I feel like I have a lot of novel ideas, but they often come up while I'm already in the process of working on a book. You have to watch out with the slutty new idea.

People always think there's this huge hundred-foot-high barrier that separates doing good from doing bad. But there's not. There's nothing. There's not even a little anthill. You just take one baby step in any direction and you're already there. You've doing something awful. And your life is changed forever.

To me, if the writing doesn't have rhythm, it feels dead. I lose all confidence. The music has to emerge to feel confident enough to move on to the next major chapter.

I was really drawn to spoken-word style poetry. I loved the rhythms, and for some reason, I was just drawn to this poetry as a way of expressing my feelings, because I didn't have any other outlet.

My chest got this weird feeling, like when you stare into the eyes of a little baby and the baby looks back up at you and you can feel how pure and innocent it is, so much that it makes your stomach feel empty - probably 'cause you realize you used to be pure like that, too, and now you're not.

But when you read books you almost feel like you're out there in the world. Like you're going on this adventure right with the main character. At least, that's the way I do it. It's actually not that bad. Even if it is mad nerdy.

When I'm there, it's pure silence. There are other writers there, too, and I get super competitive. I have this weird fear that some guy next to me is writing this amazing novel, so I got to compete.

The Color Purple really floored me. That book was just incredible because I loved the language. The biggest deal of that book was that I loved the poetry of broken English. Broken English and vernacular. It just floored me that you can actually capture the way people really talked. And I also really connected to the social class element.

Once I start writing, I am a huge reviser. To me writing is revising. I probably turn over every sentence that I write, to see if I have the rhythm right. That's why my first drafts take a really long time.

I worked in a schizophrenic home when I was an undergrad. You learned to be jaded to the crazy things they would say to you, but there was one man that I always gave crazy respect to, even though he would say the exact same thing to me every single day.

I guess I don't really know what I want to do, either. Sometimes I feel like a shook-up bottle of soda. Like, I have all this passion that wants to explode, but I don't know where to aim it yet.

The whole guilt thing of not feeling Mexican enough was a big deal, too. On the one hand, you have your grandmother who is anointing you as a chosen one because you are light, but then you feel like you're less because you are lighter than your cousins, who are more down on the streets. You know? So that confusion was all I wrote about.

When I finish a book, I'll go to that file and look through them. And I'll say, these are three that really excite me and I want to do them next. You have the business part of those three, is the publisher excited about one? Is the agent?

This is me putting it simply the politicians are one demographic and they see that Arizona is changing. I feel like the only instinct to retain power is to have education favor you. You have this Mexican American program that helps kids take ownership of their race and their power. It threatens the political powers that are in place.