As a writer I'm essentially just trying to impersonate a first-time reader, who picks up the story and has to decide, at every point, whether to keep going.

Success is like a mountain in front of you that keeps growing. If you're not careful, it will take up your whole life.

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!"

When I'm explaining something to you, if I'm being long-winded, and twisty in a non-productive way, I could make you feel vaguely insulted. And you'd have a right to be.

The traveller must, of course, always be cautious of the overly broad generalisation. But I am an American, and a paucity of data does not stop me from making sweeping, vague, conceptual statements and, if necessary, following these statements up with troops.

If death is in the room, it's pretty interesting. But I would also say that I'm interested in getting myself to believe that it's going to happen to me. I'm interested in it, because if you're not, you're nuts. It's really de facto what we're here to find out about.

Monologues, in some ways, are the most scientific descriptions of consciousness and even of gatherings.