I have a lot of interest in interior rhyming; not just rhyming at the end of the lines, but playing around with rhymes within the lines, playing with where the syllabic emphases in the sentences are, lining those up at strange moments in the line of the song. I’m not sure if that comes across or not.

People are often afraid for me. They think that I am going to break. I can make it through a set.

I have a voice that's obviously untrained - and I think untrainable - so I kind of secreted it away for a long time. Actually, I would write songs with lyrics when I was younger, but I would just sing in my head.

I wanted to write songs which I think is a different thing. I wanted to write music that is informed by folk music. The chord progressions are obvious references.

Around eighth grade I decided I wanted to be a composer and that's what I went to college for. Just a few years back, I switched out of composition and into creative writing so I could work with words.

I have a recording that I did of instrumental songs.

Families of privilege and money would have harps in their parlors, and their cultured daughters would learn to play. It's got such a strange history. But that wasn't the context that I learned it in, so the inherent friction between that history and the more humanist folk-y history wasn't in my conscience at all.