I'm Asian-American, and I was the only Chinese girl growing up in a white school in San Diego. So I understood what it was like to be different, to always want to fit in and never feel like you ever could.

I have minor characters who are Asian-American, and I've been using them throughout my career, but they've never taken center stage, they've never been really powerful, they've never expressed some of the experiences I had growing up in the U.S. Johnny Tam is the first one.

My brother often complains to me about the 'angry Asian male' in the United States. As a female, I haven't encountered this, but Asian-American men are angry. They're angry because, for so many years, they've been neglected as sex symbols. Asian women have it much easier, I think; we're accepted into various circles.

Because I never plan anything out ahead of time, I'm always in the process of learning about my characters. Without a biographical sketch to guide me, I discover things about my heroines as the stories unfold. Only in 'Body Double' did I discover that Maura's mother was a serial killer.

It's amazing what happens when you're confident as an artist. The writing completely changes, and you're no longer depressed about your sound or what it's going to be or if people are going to like it.

My main object is to write, to keep learning. I always try to perfect my composition. But I do like writing film and opera music. I believe that it fulfills the needs of particular situations.

I wanted Kimi to be a Japanese record with a Japanese title. I wanted it to be for them. They appreciate things on a different level, and take their art very seriously - that's special if you're an artist.

Novels aren't pedagogical instruments, or instructions in law or physics or any other discipline. A novel has to be an emotional experience, a trip of the imagination, and because science has raised so many issues that concern and affect humans, it's a good starting place for me.