Growing up, I never knew that Raffi turned down celebrity endorsements, TV shows, and specials and refused to make merchandise, but it makes sense given how I think about him: My memories are limited to his voice through the record player and the album covers I stared at.

As a journalist, you don't tend to interview people with a view to becoming their friend. You can't expect that. It's not professional.

I've written about women's lives, and I just want to write about them from being a woman. I don't need feminism on top of that when I'm writing.

I didn't study English literature - I studied philosophy at university - so Kierkegaard, Nietzsche - these people are among the most important writers to me. So my interest is in the big questions more than it is in storytelling.

The more one reads poetry, the less tolerant one becomes of any sort of verbosity, be that in political or philosophical discourse, be that in history, social studies or the art of fiction.

Full Frame is where I had the first showing of my first film, 'Street Fight.' I have a fond memory of pacing around outside the theater, nervously trying to keep from throwing up. It's a magical festival, well curated, with a warm and generous spirit.

Seriously, you know - I love to write. I enjoy the process; I enjoy the different processes, because writing for film and television and graphic novels is all very different. So I've never had the feeling of, 'Oh, you have to do this one thing.'

I was reading C.S. Lewis with my mom, and she was pointing out that he was dead, and I'm like, 'What do you mean he's dead?' We were in this world he created, and he was gone from the Earth. Yet in those black marks on a white page, his imagination lived on, his voice lived on. That is so miraculous.