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.

I tend to opt for relaxed family holidays when I can.

My family has been around campaigns for a long time. It's something you really have to be sure that you alone want to do. Because if not, if you don't want to do it, that will just blow through the surface at some point, and people can tell. And when people can tell, it's all over.

When I grew up, we always had our chickens, and we ate our eggs, and we ate our chickens. The family always had a pig, and we would kill it at Christmas and eat it for three or four months afterwards.

To place a man in a multi-stage rocket and project him into the controlling gravitational field of the moon where the passengers can make scientific observations, perhaps land alive, and then return to earth - all that constitutes a wild dream worthy of Jules Verne.