I write 1,000 words a day first thing in the morning but I cannot write 240 characters to describe a piece that I spent six weeks working on with a producer.

As a boy, I wanted to be the Peruvian Diego Maradona. Sadly, Peru hasnt made the World Cup since 1982, so I guess I did well to choose something different.

I'm a believer in the benefits of translation. It's a necessity and a privilege - it would be awful to be limited to reading authors who's work was composed in the languages I happen to have learned.

It's true that there are people who live the idea of being an artist, as opposed to the idea of making art.

Meaning can be usually be approximated, but often by sacrificing style. When I review my translations into Spanish, that's what I'm most concerned with, reading the sentences aloud in Spanish to make sure they sound the way I want them to. To be honest, I much prefer being translated into Greek or Japanese; in those cases, you have no way of being involved, and no pressure.

There are stories that are by and for Latin Americans, where a certain amount of cultural fluency is expected, where we can delight in the details, the humor, the particularities of speech, of dialects. Something is always lost in translation; we know instinctively that this is the case. A Radio Ambulante story looks at Latin America from the inside.

Radio, or at least the kind of radio we're proposing to do, can cut through that. It can reach people who would otherwise never hear your work, and of course I find that very notion inspiring. Radio stories are powerful because the human voice is powerful. It has been and will continue to be the most basic element of storytelling. As a novelist (and I should note that working my novel is the first thing I do in the morning and the very last thing I do before I sleep), shifting into this new medium is entirely logical. It's still narrative, only with different tools.