I wanted to let form lead my thinking, and repetition always confronts you with the interesting problem of how to break out of a cycle that seems so deterministic, which was germane to the story's concerns.

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 have to trick myself into writing a story - impose some arbitrary constraint to distract me from the constraints of my past habits or my fear that I don't have much to say.

I wanted to let form lead my thinking, and repetition always confronts you with the interesting problem of how to break out of a cycle that seems so deterministic, which was germane to the story's concerns.

You have to be able to play: this is spontaneous interaction, and it flexes all the creative muscles you need as a writer. And empathy is one of those muscles.

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.

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.