Don't rush or force the ending. All you have to know is the next scene, or the next few scenes.

I take pens and I write on the inside of my arm. When I'm with people and somebody says a really fascinating anecdote, or fact, or phrase, I'll write it on the inside of my arm. At the end of the day, I'll take the very best things that are on my arm and I'll copy them into a notebook that I always carry and only when the weather is absolutely terrible will I really key the very best of that notebook into the computer. At that point, it's all sort of censored twice - only the best things go from the arm to the book and only the best things go from the book to the computer.

I take a lot of flak from the counter-establishment for selling out.

Be famous. Be a big social experiment in getting what you don't want. Find value in what we've been taught is worthless. Find good in what the world says is evil. I'm giving you my life because I want the whole world to know you. I wish the whole world would embrace what it hates. Find what you're afraid of most and go live there.

The police are asking through the bedroom door, why did I make a batch of strawberry daiquiris before I called them? Because we were out of raspberries. Because, can't they see, it just does not matter. Time was not of the essence.

The short stories tend to be a journalistic gathering of anecdotes that are put together to make something larger.

Jump to the day we'll all be dead and none of this will matter. Jump to the day another house will stand here and the people living there won't know we ever happened.