I suppose it's easier for most writers to create and vivify characters of their own gender.

As New York careens toward the modernity of the twentieth century when Gibson girls were transforming themselves into working women, Clara Driscoll enters the male field of stained glass artistry and builds a lively, multi-national, multi-class women's department within Tiffany Studios.

Two of my grandfathers had been artists, lifelong oil painters, so I was exposed to art very young. I've always been interested in it, although I never pursued it as a career or even as an avocation.

I absorbed as many Impressionist paintings as I could, in Parisian museums and in many museums in the United States and in books, looking for clues to architecture, clothing, settings.

I know exactly what it's like to stand on top of a tall building or in a high place and look down and go, 'Ohhhh my God.' I try to get into that place every time I write a scene like that. And definitely when I write the action scenes, I get overheated and my heart goes really fast. I get very involved.

Ultimately, knowing God and reading the Word, it helps with patience with people, understanding, empathy and sympathy that they might not have that I have. If God gave it to me, why not exercise it?

My views as an individual ought not to be confused with my views as a scientist - the minute you try to mingle God and science, you get into trouble. Metaphysics has its place, and science has its place; don't mix the two.

You don't have to convince Muslims of God's existence or importance.