I think that's the real loss of innocence: the first time you glimpse the boundaries that will limit your potential.

When you put so much effort to forget someone, the effort itself becomes a memory. Then you have to forget the forgetting, and that too is memorable.

There's this quote by a writer, Emil Cioran, he's a Romanian writer. He says that you should only put things in books that you would never dare to say to people in real life. So there is that feeling of acute embarrassment, or that you've been too revealing. I think it's some kind of survival mechanism where I never think of the reader, ever. Because then I would start censoring myself.

I dont really have an office or anything, and I like to have to move location every two hours. So I just kind of write in a park, on a bench, in the library, in a cafe, back to the library, that kind of thing.

I try to outline. I'm a lazy outliner. I will put the points down of each chapter or series of chapters, but it always changes. For me it's a place of evolution. I don't really know who the characters are. I don't really know what the story is. I outline and that really just gets me moving. It's like I'm drawing up fake maps, but they turn out to be correct.

We have this atomic idea of process where we want to believe that the creator of the book or the show had this whole brainy idea at the outset. As though there is something less about it if it comes out of the process of discovery.

What a nasty act of cruelty, giving a dying man his last wish. Don't you realize he doesn't want it? His real wish is not to die.