I didn't feel that so much as an outsider when I started writing; I've felt that way all my life. I don't know, man; I guess I was just wired wrong. When I was growing up, I always wanted to be somebody else and live somewhere else. I've always felt a little uncomfortable around people. And I'm not trying to romanticize this, because it wasn't romantic. I wasn't trying to be a rebel; I just always felt a little out of it. I think that's why it's pretty easy for me to identify with people living on the margins.

Knockemstiff is a collection of short stories set in the holler of the same name in southern Ohio where I grew up. I tried to link the stories together through the place and some recurring characters.

There are a lot of writers from the South who would probably have once figured they needed to go to New York to make it who have stayed closer to home - people like David Joy, Tom Franklin, Sheldon Lee Compton, Wiley Cash, Mark Powell, and Alex Taylor.

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.

It's very easy for me to feel sympathy for people who are messed up. It's not that I'm a pseudo-saint or a great person. I had a lot of trouble with drugs and alcohol when I was younger, and I know how easy it can be to mess up the rest of your life. One bad turn, one bad night, one big mistake, and everything is screwed up. Or maybe you were just born in the wrong house and raised in a bad way. I guess I can understand.

I don't really think the outburst is recent; there have always been writers in Appalachia.

The biggest influence on my writing, besides snagging some ideas about black humor, was that the paper mill had a program where they paid 75 percent of the tuition and book [costs] for employees who wanted to go to college part-time.