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“I do believe that one's writing life needs to be kept separate from Po-Biz. Personally, I deal with this by not attending too many poetry readings, primarily reading dead poets or poems in translation, reading Poets & Writers only once for grant/contest information before I quickly dispose of it, and not reading Poetry Daily. Ever.”

“I learned that you really don't have any control as a writer. Waah, waah, waah. Big deal. Unless you're the director on the movie, or putting up the money for the movie, you really don't have a lot of control. As someone who's just writing scripts, you just kind of have to shrug. I have no problems or issues with screenwriting in general. It is what it is.”

“My stories usually begin with the characters and some elements of how power (personal, political, magical) functions in the world. The rest develops as I write, and research helps a great deal with that. If you're going to write about an agrarian economy, research agrarian economies. If your main character is starving, then you should know what it means for a malnourished body to break down.”

“I explain to everyone I deal with-co-workers, children, friends-that I'm transitionally challenged and they should call me on my cell phone if I'm even a few minutes late. Such calls often come in when I'm happily writing or rearranging the furniture. The monochrones in my life are so organized, they have no trouble remembering to remind me to show up.”

“I try to write about complex issues--young people in an adult world-- full of irony and contradiction in a narrative style that relies heavily on suspense with a texture rich in emotion and imagery. I take a great deal of satisfaction in using popular forms-- the adventure, the mystery, the thriller-- so as to hold my reader with the sheer pleasure of a good story. At the same time I try to resolve my books with an ambiguity that compels engagement. In short, I want my readers to feel, to think, sometimes to laugh. But most of all I want them to enjoy a good read.”

“One can write out of love or hate. Hate tells one a great deal about a person. Love makes one become the person. Love, contrary to legend, is not half as blind, at least for writing purposes, as hate. Love can see the evil and not cease to be love. Hate cannot see the good and remain hate. The writer, writing out of hatred, will, thus, paint a far more partial picture than if he had written out of love.”

“We're historians and above all want to write about what was. Our book doesn't deal with legacies. It also wasn't our goal to destroy a legend. We consider Walesa to be a national symbol. He led Solidarity and remains an icon. But he also worked with the secret police under the name Bolek. The truth isn't always simply black and white.”

“Some may say [journal keeping] is a great deal of trouble. But we should not call anything trouble which brings to pass good. I consider that portion of my life which has been spent in keeping journals and writing history to have been very profitably spent. - "If there was no other motive in view [except] to have the privilege of reading over our journals and for our children to read, it would pay for the time spent in writing it.”