I love the way a story's ending can force you to read backwards. It's as if you are slowly adjusting a kaleidoscope until a random scattering of colored crystals suddenly falls into a beautiful symmetrical pattern.

Chekhov used to correspond with aspiring writers, and once he gave this advice to Maxim Gorky when he was encouraging him to pare his wordy sentences: "When someone expends the least amount of motion on a given action, that's grace." The short story, by definition, embodies this notion of grace, because it requires such forceful compression to achieve its effects.

For me, what's compelling about sexuality is the way that desire transforms what we take in through our senses, the ways in which our bodies betray us or rescue us by insisting on their own non-negotiable truths. Anything but frank or pragmatic.

When I decided to stop using quotation marks, it presented technical challenges: you have to conceive of dialogue differently and structure it differently for this to work. So I had a new problem, which makes writing interesting again.

I love the way a story's ending can force you to read backwards. It's as if you are slowly adjusting a kaleidoscope until a random scattering of colored crystals suddenly falls into a beautiful symmetrical pattern.

When you write, you're supposed to go stand somewhere else for a while, see things from a perspective that's not in line with your own reflexive truths.

I think it's very hard to be sexually explicit and erotic - though there are writers, like K. M. Soehnlein, who are just brilliant at this.