Being serious is serious business in fiction. It's commercial or hoi polloi in fiction to be funny. It's too accessible to the great unwashed.

I think comedy is so much easier to do on the page than it is in real life. When I'm writing, comedy is an easy way to win over the reader. You're automatically more disposed to keep reading, thinking maybe, "I'll get another laugh or two." I think it's a survival instinct in me. I mean, you don't want to lose these guys within five or ten pages. You want them to keep going. I think to some extent it's a desperate measure that I throw out there, because a novel isn't a complete waste of time if it made you laugh.

To conform is to lose your soul

I don't write directly on to the computer because I don't think well facing forward with fingers on a keyboard. I think better looking down holding a pen. And the concentration quotient of pen and paper is higher than when I'm moving words around on screen.

The main questions of everyday life are too enormous to answer in any definitive sense.

Names generate meaning in a short amount of space — they provoke thoughts, questions. That's something I like doing. Of course, you have to be careful. Sometimes it can alienate the reader, it can be another level of mediation, to make a character carry the great burden of a metaphoric name. The character can be a device before he or she becomes a person, and that can be a bad thing for a writer who wants to offer up a kind of emotional proximity in the work. It's a constant struggle, the desire to be playful and the desire to communicate on some very stark emotional level.

Without work, so much of one's identity just evaporates.