A novel requires a certain kind of world-building and also a certain kind of closure, ultimately. Whereas with a short story you have this sense that there are hinges that the reader doesn't see.

I would say that all short stories have mystery naturally built into them.

It doesn't matter what you do. In the end, you are going to be judged, and all the times that you're not at your most dignified are the ones that will be recalled in all their vivid, heartbreaking detail. And then of course these things will be distorted and exaggerated and replayed over and over, until eventually they turn into the essence of you: your cartoon.

I guess I've been blessed with insomnia because I do a lot of my writing at night. Because I don't sleep as much as I probably should, I have that extra time to write weird stories and think odd thoughts.

I usually have more than one thing I'm working on at once -- I've been working on three different novels. When I get stuck on one, I hop back and forth. It's sort of freeing: I can say I'm abandoning this thing that I hate forever and I'm moving on to something that's good. I'll find that I'll go back to [the other project] in a day or a week and like it again. But that moment of wanting to trash something -- that Virginia Woolf moment when you have to be stopped from filling your pocket with stones -- comes pretty regularly for me. Switching is probably a good thing.

I know a lot of people don't listen to music when they're writing because it distracts them, but for me it's almost a way to get into the self-hypnotic state that I need to be in to write.

I started out as a poet who primarily wanted to write about image and moment. Over the years I've been trying to teach myself how to do plot and scene. My first story collection had the most issues with the plotlessness, and when I was writing my second collection I was teaching myself how to make things happen.