A writer has a use for his experiences that most civilians simply don't; he or she discerns material in situations that others simply live through. Perhaps there are some who disapprove of this, but without this double consciousness, literature would not get made at all.

Love is a powerful painkiller.

Short stories are fiction's R & D department, and failed or less-than-conclusive experiments are not just to be expected but to be hoped for.

When Loughner himself speaks and we find out his real influences are Spiderman, 'Gnome Chomsky,' Taylor Swift, and Dr. Bronner, then what?

realized that at a level I'd never been conscious we'd been engaged in a game of wits for years. I suppose most writer-subject pairings are like that. Of course, I'd set aside my plan to write about him [Clark Rockfeller] as soon as I'd gotten to know him some, but now I'd resumed that intention.

At the beginning of a novel, a writer needs confidence, but after that what's required is persistence. These traits sound similar. They aren't. Confidence is what politicians, seducers and currency speculators have, but persistence is a quality found in termites. It's the blind drive to keep on working that persists after confidence breaks down.

There are moments when it frightens us, threatening to expose us as inauthentic. Well, the big-time impostors we read about in literature run this risk constantly, flirting with destruction, not just humiliation or embarrassment. It's a spectacle that we can't help but find compelling, and it involves a certain level of courage that we sneakily admire, perhaps.