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Paradoxically, the only thing that helps when I'm feeling despairing about writing is to write.

I once took a workshop with Jim Shepard, and he has this term, 'rate-of-revelation,' that has come to mean a lot to me: 'the pace at which we're learning crucial emotional information about the stories' central figures.' An ever-increasing rate-of-revelation is good; a stagnant r-of-r is not.

America loves a good comeback story!

The short story has been here and is here and will be here as long as we are.

As a young writer, I was sort of sailing around trying to 'find my voice' - for lack of a better term - and I was really chafing against the very minimal brand of domestic realism that I'd read so much of in college.

My students are often asking me, 'What do you think are the most important qualities for a writer?' And one thing I always tells them is that it's helpful to be willing to sit in a space of uncertainty. There are entire years, especially with novels, where you really don't know where the project is going.

In 'The Third Hotel,' my narrator, Claire, is wrestling with this sense of perpetual unfinishedness. She's trying to make sense of her husband's death, how someone's life can just stop and not continue, and of the lack of resolution in her own inner life.

I think writing, or any form of art-making, is a way to prepare for not being here. Not that we can. No amount of preparing can really ready us, in a meaningful way, for the great void that awaits us all.

I was born and raised in Orlando, where the economy and culture has been powerfully shaped by tourism, and so I've long been interested in how we narrate the places we visit, how the gap between what we see and what we know manifests when we're traveling.

Havana is a uniquely complicated city and contains a great many histories.

In terms of specific cinematic influences, certainly I'd recommend 'Juan de los Muertos,' and I also really love this French zombie movie - 'Les Revenants' - where the dead reanimate for no apparent reason.

Holy cow - everything about writing a novel is hard for me.

'Find Me' I think, is brooding in a very literal sense of the word in that you have all of these sort of interior storm that's growing within Joy over the course of the book and leading her to her moment. And certainly, I think there's an aspect of the supernatural.

I wager we have a vast amount of literature out there that tends to the stories of men, so I've never really worried too much about attending to stories of women.

I think my concern is I know my voice, and I know the kinds of landscapes that interest me, so my primary concern is doing the most I can with those voices and those landscapes.

Florida is a very idiosyncratic place in a lot of ways - as are many parts of our fine country, but one could say Florida is particularly idiosyncratic.

To me, in general, something that's really rich in terms of identity about transit spaces is that they're so intimate. Especially thinking about long international flights when we're trying to sleep on the plane - we're total strangers, but we're sleeping next to each other.

I lived in Florida until I was 22.

I realized that, for me, travel for work - I'm not speaking so much about travel for pleasure - had actually become a way of avoiding life.

There's the public self that we present to the outer world. There's the private self, which maybe takes more time to access. But ultimately, what I'm most interested in as a writer is a few notches below the private self.

I tend to be drawn to characters who are not rule followers, who behave in unexpected and unusual ways.

In fiction, we are not bound by social convention, so the things that mystify and unsettle are allowed to rise to the surface.

Here's something a little more personal: In my teens, I was having a hard time and ended up in a therapy group of young women, some of whom had endured terrible childhood traumas.

With both novels and short stories, I think a lot in terms of character arcs, when it comes to endings.

It puzzles me when writers say they can't read fiction when they're writing fiction because they don't want to be influenced. I'm totally open to useful influence. I'm praying for it.

If I'm really rolling with a short story, I work on it everywhere and end up with a finished draft in a couple months, but a novel really demands that I step out of my life and vanish into the world of the book.

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