I loved writing for the school newspaper. I liked to report and interview people, but I really liked to write columns, funny columns.

Any of us who listen to the news or listen to stories our neighbors tell are accustomed to violence. We have to decide then to ignore the violence and create a gentler world in our fiction, or to heighten the violence through the use of point-of-view in order to explore it and gain some insight and understanding. Since I'm living with the violence and trouble in my brain, it's kind of a relief to write about it, to get it on paper, to put it in context, to find meaning in it.

For 'King Cole's American Salvage,' I rode around in the wrecker with a local driver and watched him deal with customers and hook up the cars. I watched the guy who tore apart the cars in the junkyard. I also wrote poems about those guys. I loved hanging around the yard.

I have a second-degree black belt in Okinawan kobudo weapons training.

In a regular class I don't focus on the form, but I think that focus is helpful for brainstorming and coming up with ideas quickly, especially with autobiographical material.

We know that we need to explore desire in fiction - many say that the only way a story exists is that a character feels a strong desire - and nature is the place where creatures act on their desires in the most pure way imaginable, so maybe nature also works as a metaphor for whatever emotional troubles my characters have to negotiate. I'm interested in my characters as survivors, and maybe that works best when the old-fashioned notion of humans surviving in wilderness is not too far away.

Nobody tells young writers it's okay if you're not very good, you'll get better. So I just thought I'm not very good, so I should try to do every other thing besides writing. That's how I ended up being a hitchhiker, a world traveler, and a mathematician.