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 absolutely love my job. I feel so privileged: I get to travel the world, I get to witness history... and I'm constantly inspired by the different amazing characters I meet along the way.

I think a lot of times, especially for certain stories, photographers travel together for safety reasons, and they also invariably cross paths. But you could have 10 photographers shooting together in the same spot but capturing different images.

People come up to me all the time in New York. Not for autographs, but to talk about movies, often in a very scientific way.

I think the biggest thing - when it comes to injuries and stuff, travel has a big part in that, because after a match, guys hit the road, and they're in a sitting position. They're not able to ice up or do whatever they have to do therapy-wise.