In nearly everything I write, I am like a ventriloquist, throwing my voice into my characters, animating them by the slightest twitch as I register my anxieties and alarms. This is true even in my comedies.

My fondness for extended monologue might have been encouraged by two decades of writing stage and radio dramas.

I do seem to favor a deathbed confession as the occasion for my dramatic monologues.

I very much like the idea of the unreliable narrator. Shaping my fictions as monologues - by introducing the "I" - allows me to be as unreliable as I like.

I do believe we are actors in our own dramas, which, moment by moment, we ourselves write; that we are characters in our own fictions or those devised for us by someone or something else.

Many of my short fictions use theatre as a metaphor for situations in which characters find themselves estranged from the larger, uncontrollable world that may or may not lie beyond the proscenium arch.

I'm too ambitious to give another man credit, even if that other man is only myself in disguise.