More and more these days what I find myself doing in my stories is making a representation of goodness and a representation of evil and then having those two run at each other full-speed, like a couple of PeeWee football players, to see what happens. Who stays standing? Whose helmet goes flying off?

That for me was the big turning point in my artistic life, when my wife and I had our kids. The world got infused with morality again. Every person in the world should theoretically be loved as much as I love my daughters.

My theory for nonfiction is that nobody can be free of some kind of conceptions about whatever story they're writing. But if you can find a way to build those into the story, then the story becomes a process of deconstructing and heightening and sometimes changing those notions and that makes dramatic tension. The initial statement of your position, and then letting reality act on you to change it, is pretty good storytelling.

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!"

I guess what I'm trying to say is that whatever weirdness was going to be in there, I felt, had to be earned. And it had to be required by the emotional needs of the book.

I sometimes imagine a great writer as a sort of God-surrogate: the writer is doing his or her human-best to emulate what God might think of is, if God was inclined to observe some human beings and present their activities in the form of a narrative.

A hip-looking teen watches an elderly woman hobble across the street on a walker. "Grammy's here!" he shouts. He puts some MacAttack Mac&Cheese in the microwave and dons headphones and takes out a video game so he won't be bored during the forty seconds it takes his lunch to cook. A truck comes around the corner and hits Grammy, sending her flying over the roof into the backyard, where luckily she lands on a trampoline. Unluckily, she bounces back over the roof, into the front yard, landing on a rosebush.