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.

As a kid, I had a real fascination with perverse, off-color, and kind of risky things, and I also had a very sanctimonious Catholic, purist side.

So I may not have had a gothic childhood, but childhood makes its own gothicity.

The other thing that's useful for me is this notion of the absolute versus the relative:if we walk out and it's a beautiful morning, it's only a beautiful morning because we don't have a broken leg or hemorrhoids or something.

As one gets older, this question of death, becomes more vexing and urgent.

Our first responsibility in all things is to preserve our goodness of heart - then and only then act.

I don't really write beautifully naturally, unlike some people.