What do you do when you're no longer the hero of your own story?

Maybe it’s not, in the end, the virtues of others that so wrenches our hearts as it is the sense of almost unbearably poignant recognition when we see them at their most base, in their sorrow and gluttony and foolishness. You need the virtues, too—some sort of virtues—but we don’t care about Emma Bovary or Anna Karenina or Raskolnikov because they’re good. We care about them because they’re not admirable, because they’re us, and because great writers have forgiven them for it.

I just don't feel much interested in the lifestyles of the rich and famous.

I remember one morning getting up at dawn, there was such a sense of possibility. You know, that feeling? And I remember thinking to myself: So, this is the beginning of happiness. This is where it starts. And of course there will always be more. It never occurred to me it wasn't the beginning. It was happiness. It was the moment. Right then.

Silly humans. Banging on a tub to make a bear dance when we would move the stars to pity.

I revise constantly, as I go along and then again after I've finished a first draft. Few of my novels contain a single sentence that closely resembles the sentence I first set down. I just find that I have to keep zapping and zapping the English language until it starts to behave in some way that vaguely matches my intentions.

You could say I don't want for me be seen primarily as a gay writer. I've never hidden my sexuality. It matters that I'm gay, it matters that I'm white, it matters that I'm male, it matters that I'm American. But basically it's just less and less of a big deal.