Poets think in short lines. Unless you're Samuel Beckett, Twitter might be more difficult for novelists.

I never wanted my books to be mistaken for poetry or fiction books; I wanted to write reference books. But instead of referring to something, they refer to nothing.

I wonder if Karl Ove Knausgård would've written the same books today had been using Twitter. It wasn't around when he was writing those books. Those books were written during the age of the blog, with its big verbiage. The landscape has completely changed today.

We're living in a time when the sheer amount of language has exponentially increased. As writers, if we wish to be contemporary, I think we need to acknowledge that the very nature of the materials that we're working with - the landscape of language - is very different than it was a few decades ago.

Short attention span is the new avant-garde. Everyone complains that we can no longer intake huge chunks of text. I find that a reason to celebrate. It's something that has deep roots in modernism, stretching from the Futurists' use of typography to Pound's use of ideograms to concrete poetry. David Markson feels particularly relevant now. Twitter is the revenge of modernism.

I don't have a readership, I have a thinkership. I guess this is why what I do is called "conceptual writing." The idea is much more important than the product.

You can't show me a sentence, word, or phoneme that is meaningless; by its nature, language is packed with meaning and emotion.