Secret families are really the bedrock issue of Western literature.

This is what I have come to know: Our past is never passed and there is no such thing as moving on. But there is this telling and there is such a thing as passing through.

Dwelling on pain, spending too much time immersed in it, tasting its flavors, fingering its textures--this makes it only more potent.

I like straightforward names for my characters. When I get too symbolic with names or places, I start feeling like the characters and the story are less read, and I lose interest.

People say, That which doesn't kill you makes you stronger. But they are wrong. What doesn't kill you doesn't kill you. That's all you get. Sometimes, you just have to hope that's enough.

When I am writing a story it feels as real as the life I am experiencing off the page. It's an emotional illusion, I guess.

The adolescent protagonist is one of the hallmarks of American literature.

Adolescence is a modern construct and very American in so many ways.

I take mentoring very seriously and I am on the board of an organization called Girls Write Now, where we match teen girls and writing mentors because it changes their lives.

When it comes to memoir, we want to catch the author in a lie. When we read fiction, we want to catch the author telling the truth.

I take mentoring very seriously and as a result I hardly get any work done during the school year.

I don’t mind expressing my opinions and speaking out against injustice. I would be doing this even if I wasn’t a writer. I grew up in a household that believed in social justice. I have always understood myself as having an obligation to stand on the side of the silenced, the oppressed, and the mistreated.

I am always urging my students to honor their writing practice, to set up a schedule.

If there was ever a time to boil up some grits it is now.