I've been trolled lots. But I understand trolls for what they are and I don't let them get to me. They take my bait, so I'm in charge of the discourse.

I think that the special thing about radio is the off switch. If something's not pleasing you, turn it off.

What I'm doing in writing has been thoroughly and exhaustively explored in other fields like visual art, music, and cinema, yet somehow it's never really been tested on the page.

I think that writers often try too hard in the name of expression, when often it's just a matter of reframing what's around you or republishing a preexisting text into a new environment that makes for a successful work.

The moment we shake our addiction to narrative and give up our strong-headed intent that language must say something "meaningful," we open ourselves up to different types of linguistic experience, which could include sorting and structuring words in unconventional ways: by constraint, by sound, by the way words look, and so forth, rather than always feeling the need to coerce them toward meaning.

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.

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