I'm pretty hardcore. I stick exactly to what I'm doing. So I write a novel in one period, and then I'll write stories in another period. I only work on one thing at once, because I'm afraid that I wouldn't finish what I'd started.

Writing is a channeling of an individual experience; so is reading. That's what's so exciting about this art form - it's interactive.

I always listen to music while I'm working and I always read aloud to my wife. I love to read aloud to an audience because there's a cadence and a beat. There's a music to the language that's very important to me.

We are animals and we are made in this way and this is how we behave. I'm just kind of fascinated by how we can deny that we are animals and what our impact on the other animals is like, and how quixotic we can be in trying to assess what we've done in trying to correct it.

When you're in the midst of writing, it's a beautiful thing happening through you. Many people have said that it's not you, it's the soul of humankind and so on, I don't know. But it has the same effect [as music]. It takes you out of your body and out of this planet.

I don't think we need a critic to negotiate with the audience. People say, "Who are you writing for?" I'm writing for myself but my audience is anybody who knows how to read. I think a story should engage anybody who knows how to read. And I hope that my stories do, maybe on a different level for more sophisticated readers than, say, a high school kid, but still a story has got to grab you. That's why we read it.

From my point of view, why shouldn't I work in every possible mode, to see if it's viable? "Los Gigantes" would not have worked as a straightforward, naturalistic tale. Part of the fun of it is that it's so preposterous and yet at the same time, it could have happened. Think of eugenics. Hitler certainly would have been doing it if he could have.