I have very rarely written autobiographical stuff. "Greasy Lake" and some other works have some autobiographical elements, as does "Birnam Wood," the one I chose to end [this collection] with. I lived in that house and some of my feelings are expressed in it, but it's not autobiography. It was not me and that didn't happen exactly that way.

Some writers just write about their own lives. Well, I don't want to do that. I want to have a really boring life. A quiet, boring life so no one wants to write a biography. I'm the only writer in history only to have one wife, for instance.

The hardest part is always the middle of anything because at that point, on some unconscious level, you have to figure out what it's about and why you're doing it and what it means. You don't know that in the beginning.

To be a friend of the earth, you have to be an enemy of man.

The hardest thing in a novel is time. You've got [a line like] "two weeks later, he woke up with a headache," and you've got to add up that entire two weeks and what the date is and whether it works. That kind of stuff drives me crazy and if I don't have it exactly right, I can't move forward because I don't feel confident.

I have many enemies and they all think I'm being highfalutin calling it performance, but the word "reading" has a connotation of something academic with the lights on and you're going to get a lecture. I'm looking to blow my audiences away by giving a fine, dramatic performance and reminding them of why they love stories.

I go around with my books so much and I love to perform on stage, to remind everybody that the lights are off, the phones are off, and for this hour, it's going to be like your mother reading to you. We're going to remember why we love stories. I think that gets lost in over-intellectualizing.