boice: I'm always asked why I write from the female perspective, as opposed to your question of my success in doing so. My usual response is because I grew up in a house with three women-my mother, my grandmother and my aunt. But I don't feel that's entirely accurate. I'm sure it's a factor, in terms of my success-which I believe I "get" the female condition. As much as a male can. But who I grew up with is an explanation that makes the most sense to people.

In actuality, I believe it's more of a gift or a sensitivity that I'm fortunate to recognize or harness. I say this because outside of the hard work of writing in general, there isn't an added burden for me to achieve an authentic female voice. Meaning, I don't have to do "method writing" to write my female characters. My best speculation is that I don't view people who on the surface aren't like me as an "other." I don't write as if men are from Mars, etc. Which I believe is how a lot of people feel. Intentionally or not. This concept can also include misunderstandings between races, sexual orientations and not just gender. Although the misunderstanding is often more pronounced in the minority group. As an example, if I'm at a book signing and a man asks me what my books are about, as soon as I let him know that there's a female protagonist, more times than not, he will tell me that his mother or sister or wife/girlfriend would enjoy the book. Why, I wonder, wouldn't a male appreciate a female character? Why couldn't a man relate to a female character? But probably having more female readers than male, I honestly believe I've done an excellent job of capturing the female voice. Not only because of my own confidence in my writing, but by the many women readers who have told me how realistic my female protagonists are. This is perhaps the ultimate compliment.

boice: "Colin Powell," along with the other two interludes in Stories Going Steady, were written for Deek magazine. Each issue is themed and my assignment for the celebrity issue that contained this particular story was to write about a public figure as if they never became the person we know them as, yet taking into account all that we do know about them. Still with me?

Prior to this story I'd never tackled satire. When I decided upon Powell as my subject, I loved the concept that I could point out the ridiculousness and inconsistency of racism through a person whose political views I don't share. Yet, I still understand and/or share the burden (if that's the correct word) of racism with Powell because we're both African-American. As an example, in the story it's mentioned that Powell "speaks well." A term you would often hear whites say about him. Why wouldn't he? He's college-educated. He's worldly. But yet you don't hear that said of his white counterparts. Which illustrates, once again, the shaky ground that racism sits upon. This comment is supposed to be a compliment. It is and it isn't. I've personally had the same thing said to me. I have two degrees, written several books, I should speak well.

To directly answer your questions, I disagree with the notion that there's only one way to be black. Which, unfortunately, is how minorities are far too often viewed. Even amongst their own. But isn't human nature to expect every to think like we do? I've been the object of this because I don't always use black protagonists in my writing. An article from last year focusing on the double book chastised (kindly) me for not having an entire volume of characters who were obviously black. The writer is black also. This kind of disturbed me because I wasn't aware that there is only one way to be black. I grew up middle-class in the suburbs which is a different experience than someone who grew up in the inner city or someone who summers on Martha's Vineyard in a cotillion dress.

So no, I don't agree with a group identity. There is so much diversity in the black race. The only thread that perhaps run through African-Americans is dealing with racism.

The final rejection letter I received was a so-called "positive rejection," which meant they thought my work was great, but it wasn't right for them. This was when I decided to research self-publishing, which up to that point I had always considered to be a last resort. In my research, I realized that it was a win-win situation. People would actually be reading my work and it still left the door open to be traditionally published.

boice: I'm a major jazz fan. I've been one since I was very young. My first exposure was from grandmother whose favorite jazz consisted primarily of the jazz vocalists like Billie or Ella. In terms of traditional jazz, I think jazz vocals is a perfect entry because people who say they don't understand the instrumental can still get the essence of it. Late in high school and particularly in college, I started to turn my attention towards the instrumental greats, particularly Miles. I worship Miles. I hold him responsible for teaching me how to listen to jazz. I'm a fan of all his periods--bop, cool, modal, fusion, etc. I'm also a fan because Miles was the coolest motherfucker to ever walk the planet Earth. Miles is also an influence because of his style, his restlessness as an artist to never repeat himself. Every artist, regardless of their medium, should have that as a goal. Regarding my public book readings, I'm influenced by jazz in general. No two book readings are the same. I never stick to what's on the written page. I'm constantly rearranging and adding things on the spot, which is the very essence of jazz improvisation.

boice: I write because it's the ideal representation of my true self. I don't remember who said this and I'm paraphrasing, but if you want to know the truth about a fiction writer, don't read his memoirs, read his fiction. So true. For me, to write through a character is the most authentic expression of myself. It's as if under the guise of someone I'm free of all barriers. I think this is why I'm able to write "without an audience," even though at this point I know I'll be publishing my work. At this point in my life, if I were writing my memoirs I might hold back or shield myself. In fiction I lose all of that. Reflecting back on an earlier question of yours, this might explain why I write using a female character. I see this device as a scrim. Anyone who writes understands what I'm talking about. For another writer it might be using the voice of serial killer (Easton's American Psycho) as an extreme, but you can still insert yourself into this character who is "unlike" you. Yet in some odd way writers prove the exact opposite.

D: boice, I think you're a worthy art force and a Pittsburgh asset.  I wish you blessings on your path.  Any closing words for readers/fans?