I have been married to my wife, Paula, for 25 years. We have wonderful kids. Things are - it's been a really rich life, so I started thinking, is there a way to get valence a little more into the stories, the idea that, yes, things can go wrong, but also they can go right.

I think the trick of being a writer is to basically put your cards out there all the time and be willing to be as in the dark about what happens next as your reader would be at that time.

I have nothing. My model is I have nothing figured out, and I'm starting with some little nugget and hoping that it will talk back to me enough to let it grow.

So much of what I am doing in my fiction is just trying to get into interesting places in terms of language or form, places that don't bore me. And this happens via hundreds of quick micro-decisions that are done "to taste," so to speak. So the experience is one of groping toward that interesting place - trying to leap away from anything that seems boring, or about which I don't have strong opinions. Essentially trying to avoid that moment where, devoid of any strong feeling, I start conceptualizing.

If a writer understands his work as something that originates with him but then, with any luck, gets away from him, then what he needs is someone who can grasp the potential of the piece and lead him to that higher ground.

I love story-writing because I can (more or less, on occasion) actually DO it. That's really the truth. I like the idea that a story is sort of a site for making cool language effects - a site for celebrating language, and, therefore, the world. And the brevity is part of the challenge. I like stories because I get them - I know how to make beauty, or something like beauty, in that mode.

I have this tendency to take a little bit of questionable knowledge and riff on it.