For example, if it's a sad scene, I need to feel that way, at least to a slight degree and for a short while, to get it right. Which is why I sometimes listen to music when I'm revising. Music creates moods for me quicker than any other medium.

The humor I came up with is, for the most part, a bit crude or guttural, and many people aren't going to get it or enjoy it, but some do, and that means a lot to me - to know that I made someone laugh.

I think some people at Doubleday worried about that a bit when Knockemstiff came out, but, with the exception of one or two people who complained that I didn't do justice to the many good people who lived in the holler, most of the local objections have been aimed at the violence and foul language.

Unless he had whiskey running through his veins, Willard came to the clearing every morning and evening to talk to God. Arvin didn't know which was worse, the drinking or the praying. As far back as he could remember, it seemed that his father had fought the Devil all the time.

I think my characters - well, at least a few of them - are hoping or searching for some kind of contact with god.

I worked in a paper mill all my adult life and there were a lot of funny guys there. So you pick up on that. Even though something really bad might have happened to somebody you can still make a joke out of it.

I remember a class I taught at Ohio State where I assigned a Mary Gaitskill story, which really wasn't that bad, and I had this one girl refuse to read it. But better that reaction than no reaction at all.