I'm working with fragments a lot of the time and the connective tissue isn't there yet. I think of it the way comics work. You have a block here and a block here, and there's this white space in between. Somehow your mind makes the leap to connect those two blocks. Finding a way to trick your mind into connecting those blocks is one of the fun things for me about writing. You can have those leaps that will emerge into something, if you're lucky.

I still think about the writers I loved when I was a kid.

You can go on like this for a very long time, and no one will notice. You keep thinking you're going to hit some sort of bottom, but I'm here to tell you: There is no bottom.

Maybe love, like suffering, is relative.

I always worry that knowing too much about a novel or a story early on in writing will close it down - it feels fatalistic in some way.

I knew I wanted to play around with genre-esque imagery, and the identity theft stuff came in the middle, when I was figuring out how the characters were connected to those images.

I can't understand how people can settle for having just one life. I remember we were in English class and we were talking about that poem by - that one guy. David Frost. 'Two roads diverged in a yellow wood-' You know this poem, right? 'Two roads diverged in a yellow wood, and sorry I could not travel both and be one traveler, long I stood and looked down one as far as I could, to where it bent in the undergrowth-" "I loved that poem. But I remember thinking to myself: Why? How come you can't travel both? That seemed really unfair to me.