The difference between writing where you know where to draw the line and writing where you're being way too mean is whether you can tell that the writer is not talking to family or friends anymore. Generally, if you say something bad about somebody on stage, you need to say two bad things about yourself. A lot of times, I think I'm the worst person in the room.

Cover your glass in France or Germany --even worse, in England - and in the voice of someone who has personally affronted, your host will ask why you're not drinking. 'Oh, I just don't feel like it this morning.' 'Why not?' 'I guess I'm not in the mood?' 'Well, this'll put you in the mood. Here. Drink up.' 'No, really, I'm OK.' 'Just taste it.' 'Actually, I'm sort of...well, I sort of have a problem with it.' 'Then how about half a glass?

I wish that I had re-edited 'Theft By Finding' after I did the audio. Because the audio took 40 hours in the studio, and I was standing on my feet. So toward the end of it I'd be looking at certain diary entries and I would think, "Is this really worth my time to read this out loud?" And I would think, "No, it is not." I would have cut out 75 pages, just because I was tired of standing up.

A good [short story] would take me out of myself and then stuff me back in, outsized, now, and uneasy with the fit.

The drama bug strikes hardest with Jews, homosexuals and plump women who wear their hair in bangs. These are people who, for one reason or another, desperately crave attention

No one writes dialect better than Flannery O'Connor. No one should even try.

The good thing about being gay was always that you didn't have a wedding. People would say, "He's gay, but at least he didn't make us go to his wedding. He didn't make us fly across the country. He didn't make us choose between the fish and the beef."