It's not fiction's job to be photographically representative of reality. If I want to make a fictional world where there's no kindness, this doesn't mean I believe there's no kindness in the real world. In fact, what it may mean is that I very much value kindness. Like if you make a painting in which only greens are allowed, it wouldn't mean you don't believe in blue.

I try to keep my artistic opinions not so much "to myself" but "on myself."

I like [Barak] Obama. I like him. So how far does rationality help to persuade anybody? You know, I'm not so sure.

Every step was a victory. He had to remember that.

Someone told me once - I mean I said, "Is it ok that I don't really know what the three-act structure is?" And he said, "It's basically: Act 1: a guy climbs up a tree; Act 2: people come and throw stuff at him; Act 3: he gets down."

On a more technical level, a story takes a lot of words. And to generate words and phrases and images and so on, that will compel the reader to continue reading - that stand a chance of really grabbing a reader - the writer has to work out of a place of, let's say, familiarity and affection. The matrix of the story has to be made out of stuff the writer really knows about and likes. The writer can't be stretching and (purely) inventing all the time. Well, I can't, anyway.

I haven't written a novel or something that long, because I really am improvising all along and the story is growing new limbs to do what it needs to do. So there's very little planning. There's a little planning where I say, "Well, it looks like I'm going in this direction, ok, good." But there's very little forethought or intellectual justification: "Oh, look, I'm putting in a theme park because that represents dystopian America!"