I'm always looking for context in which people tell stories. In "Fight Club" it's these support groups for dying people, and then in "Choke" it's 12-step recovery groups. In one novel it's artists' colonies, in another novel it's a diary form that submariners' wives typically keep so that when their husband comes back from serving on a submarine they have an accounting of their spouse's time. So I'm always looking for, number one, a non-fiction context - because you can tell a more outrageous story if you use a non-fiction form.

When I first started writing, there was no way I'd write a sex scene. That just seemed impossible. That's why in "Fight Club" all the sex happens off-screen. It's all just a noise on the other side of the wall or the ceiling. I just couldn't bring to write in a scene like that. So one of the challenges with "Choke" was I wanted to write sex scenes until I was really comfortable just writing them in a very mechanical way.

Everything is a self-portrait. A diary. Your whole drug history’s in a strand of your hair. Your fingernails. The forensic details. The lining of your stomach is a document. The calluses on your hand tell all your secrets. Your teeth give you away. Your accent. The wrinkles around your mouth and eyes. Everything you do shows your hand.

Stanislavski was right, you can find fresh pain every time you discover what you pretty much already know.

Inspiration needs disease, injury, madness.

These flowers will be rotten in a couple hours. Birds will crap on them. The smoke here will make them stink, and tomorrow a bulldozer will probably run over them, but for right now they are so beautiful.

Because after you've crossed some lines, you just keep crossing them. And there's no escaping from constant escape. Distracting ourselves. Avoiding confrontation. Getting past the moment. Jacking off. Television. Denial.