Talking to all those great writers and artists for the magazine was a form of graduate school for me.

I had lived in New York since 1996, sometimes in the worst neighborhoods, without even locking my door half the time.

There’s a great scene in The Texas Chain Saw Massacre [1974] that I’m obsessed with: Sally is being chased by Leatherface with a chainsaw... And she runs into thorn bushes. And she’s getting tangled up in it because she’s running fast... But Sally needs to move slowly in order to get through the bushes - she will get farther faster by going slowly because her hair and clothes won’t get tangled and caught. There’s something really beautiful about understanding that, while someone’s chasing you with a chainsaw, you have to move more slowly in order to get away.

The first horror movie I saw, in first or second grade, was My Bloody Valentine [1981], where there's a deranged killer in a miner mask stalking a small coal town.

It is a little out of touch to presume that someone wants to follow your every observation and insight over the course of hundreds of pages without any sort of payoff. That's why writing isn't a one-way street. You have to give something back: an interesting plot, a surprise, a laugh, a moment of tenderness, a mystery for the reader to piece together.

I'm ultimately not so much of a professor as a progresser. And I'm ready to move away from what I consider to be this weird mid-century dream that I feel pulls us as a country, and us as a culture, backward.

It's always fun to welcome new people into your life. When dating anyone or becoming friends with anyone who has a different profession, a different life, it opens doors. All my friends here do such different creative things. It's so awesome.