Film fixes a precise visual image in the viewer's head. In fiction, you just hope you're precise enough to convey the intended effect.

I always try to be alert to the potential for repetition, for a decaying orbit with regard to my use of technique, etc.

Nothing that lived and breathed was truly objective—even in a vacuum, even if all that possessed the brain was a self-immolating desire for the truth.

The stories in Get In Trouble confirm once again that Kelly Link is a modern virtuoso of the form-playful and subversive required reading for anyone who loves short fiction.

I have received emails from readers who have said that they were emotionally impacted by the books, and they feel they are more environmentally aware and energized to do more. So that's hopeful to me. It is at least evidence of what I'm trying to do - trying to convey very intense emotional experiences by being very close in on character points of view to make you feel it in your body. That's one way to get the point across, by evoking a visceral response.

Imbuing fiction with a life that extends beyond the last word is in some ways the goal: the ending that goes beyond the ending in the reader's mind, so invested are they in the story.

I find myself in this bizarre position in which everything I write and talk about is pretty much about this issue, the environment. It feels a little too comfortable, because at the end of the day I can rationalize that I'm doing my share. I don't know if I actually am, I don't know if I should be more of an activist than I am. But at the end of the day, everybody needs to do those things that they're most likely to continue doing, and that aren't going to burn them out.