"I think that there's every reason for a young woman to feel very strongly that allying herself with a powerful man, regardless of how she has to do it, might be her path forward — might sometimes be her only path forward. And forming that alliance may be a decision she makes when she is less experienced, and a decision that she is able to recognize for how compromised it was later in life, but we still have to recognize that there's this whole baked-in social and cultural structure that's pointing her toward that decision. Just identifying all the "bad men" and putting them into a time-out isn't really going to address the ways in which sexism is baked into our society."

“The voice tends to come first and then everything else follows. It’s never worked for me to think, here’s a character and they should have this kind of voice, let me try to force that. If I can’t tap into a character’s voice, I can’t really write the character…”

“I think the “disfigurement” that Japan inflicted was less the idea of disfigurement, and more the idea of mystery. I’ve managed to finish all that I’ve written because there’s always a mystery at the heart of it which keeps me interested. I think that’s why Japan was interesting, and it seems to me, still, like a strange mystery.”

“I was also interested in what it’s like to experience in a really vivid and authentic-seeming way agency and choice in a circumstance that you might later in your life view completely differently, because as much as you were experiencing agency and choice, you were actually in a radically disempowered situation you weren’t even experienced enough to recognize. That’s why I think consent is such a complicated issue.”