In the plays - that's where I go crazy. But my prose has a much lighter touch; it's not trying to thrill with language, just to be more truthful. I'm not concerned with the accuracy of anything. We don't get to the truth of anything with facts.

I was probably 35 when I wrote the first story. The voice is kind of a mix in that it has a young voice, but it's also someone who's looking back. I like that kind of double vision.

I think it's silly for anyone to think you could write under the influence, but if they'd like to think that, I'd like to keep the legend alive. Maybe I was under the influence when I wrote Jesus' Son and I just didn't know it.

If you write fiction, you're by yourself. There are certain advantages to that in that you don't have to explain anything to anybody. But when you get in with others who share the loneliness of the whole enterprise, you're not lonely anymore.

William McKinley Oswald was my high school football coach. He was a great coach and had a profound influence on my life. But I think he could have learned his method of motivating players from an army drill sergeant.

I have sympathy for young people, for their growing pains, but I balk when these growing pains are pushed into the foreground, when you make these young people the only vehicles of life's wisdom.

We should be very concerned: if identity theft is so simple to do, what's to stop me from entering this country and assuming the identity of someone else for the sole purpose of living here illegally for terrorist reasons? That alone would be a concern.

I was blessed to have my son, ZZ, doing it; he managed to pull nothing but the truth out of me. Put all that aside, and you think how strange it is to watch a movie about some small, but important, part of your life.