Sometimes I'll have an end in mind, but it's always false, always corny, just a dumb idea anyone could have, sitting on a barstool. An abstract thesis with no real life inside it. And then I start writing and the writing itself confounds me, taking away the comfort of knowing the end in advance. How is that even possible? Doesn't the conclusion come at the end? How can you begin with one - that seems odd, right?

I'm kind of a creature of the alt-weekly universe - my real education into higher culture was acquired in coffee shops, reading those papers, digging into that lively mishmash of opinion for drift, a sense of what to see, what to hear, what to read, etc. - and I'd like to think that scene's still vital, although I understand there's been a fair amount of conglomerating, which would seem to undercut its radical roots, its funky local flavor. I'd encourage any writer with an eye for life and an ear for prose to give it a try. You can work out your chops just fine in newsprint.

We need to be ambivalent - in the essay, and in life too. Ambivalence - having mixed feelings, entertaining contradiction, living with fluctuation - is a widened embrace. It's about the coexistence of things, and in that light, we have no choice in the matter.

I'm not a very savvy operator - it's not who I am, it's not what I do - and so I have to go at things in ways that suit me. I just write what I write and the stuff finds its vagrant way in the world, somehow. The venues appear; the work always finds a home, eventually.

Nowadays I imagine people find freer and more accepting venues in blogs, on Tumblr and Instagram and Facebook, in the riot of shouting that trails in the wake of every news story. So there's always the pandemonium of the Internet, if you need to get your lunatic opinions out in public. I find most of that stuff a little insane-making and my preference is to encounter personal essays in the relatively sedate and stable universe of print, in literary quarterlies, magazines and books. But I'm sure you can find plenty of good stuff in lonely outposts all across the World Wide Web.

Too much me is annoying under any circumstance, but too much me in an essay, however personal, would mar the art. My "character" in the essay is more like a perspective, an angle of vision, a complicating factor, a questioning presence. I don't sit on the sidelines or pretend to objectivity; and I'm not afraid to stick my neck out or to be revealing and vulnerable.

I have lots of fiction in the drawer, but the essays I mostly kick out into the world, ready or not. Fiction incubates differently, I suppose.