I sat down and tried to write a story.'Ian MacArthur is a wonderful sweet fellow who wears glasses and peers out of them with delight.'That was the first sentence. The problem was that I just couldn't think of the next one. After cleaning my room three times, I decided to leave Ian alone for a while because I was starting to get mad at him.

Anger ... It's a paralyzing emotion ... You can't get anything done. People sort of think it's an interesting, passionate, and igniting feeling — I don't think it's any of that — it's helpless ... It's absence of control — and I need all of my skills, all of the control, all of my powers ... And anger doesn't provide any of that — I have no use for it whatsoever.'[Interview with CBS radio host Don Swaim, September 15, 1987.].

Lacking natural equilibrium, I used writing as an illustrative means to center myself in a world filled with haziness and uncertainty. My self-drafted obituary will not bemoan death but shall celebrate life by giving heartfelt thanks for all the people that brightened actuality with their kindness, friendship, noble acts of charity, and expressions of universal goodwill. It was a privilege to exist in this wrinkle of time with many people devoted to burnishing the sharpen edges of life. The heavens blessed me with many years to discover why it is beautiful to live and die in a world where the hills and wind, the rivers and seas, stars and moon, and revealing sunlight shall persevere.

I realized that the good stories were affecting the organs of my body in various ways, and the really good ones were stimulating more than one organ. An effective story grabs your gut, tightens your throat, makes your heart race and your lungs pump, brings tears to your eyes or an explosion of laughter to your lips.

Poetry is only the highest eloquence of passion, the most vivid form of expression that can be given to our conception of anything, whether pleasurable or painful, mean or dignified, delightful or distressing. It is the perfect coincidence of the image and the words with the feeling we have, and of which we cannot get rid in any other way, that gives an instant 'satisfaction to the thought.' This is equally the origin of wit and fancy, of comedy and tragedy, of the sublime and pathetic.

My conception of a novel is that it ought to be a personal struggle, a direct and total engagement with the author's story of his or her own life. This conception, again, I take from Kafka, who, although he was never transformed into an insect, and although he never had a piece of food (an apple from his family's table!) lodged in his flesh and rotting there, devoted his whole life as a writer to describing his personal struggle with his family, with women, with moral law, with his Jewish heritage, with his Unconscious, with his sense of guilt, and with the modern world. Kafka's work, which grows out of the nighttime dreamworld in Kafka's brain, is *more* autobiographical than any realistic retelling of his daytime experiences at the office or with his family or with a prostitute could have been. What is fiction, after all, if not a kind of purposeful dreaming? The writer works to create a dream that is vivid and has meaning, so that the reader can then vividly dream it and experience meaning. And work like Kafka's, which seems to proceed directly from dream, is therefore an exceptionally pure form of autobiography. There's an important paradox here that I would like to stress: the greater the autobiographical content of a fiction writer's work, the *smaller* its superficial resemblance to the writer's actual life. The deeper the writer digs for meaning, the more the random particulars of the writer's life become *impediments* to deliberate dreaming.

Ideas either age like fine wine or rot like potatoes over time.

I contend that good children's stories are always about the Getting of Wisdom. That's another way of saying, 'Let your characters grow. Up.' And good stories for adults are about the Holding of Wisdom. Another way of saying, 'Recognize you are grown up.

As I approach a new project, my process always begins with the question: what is it about? Here’s one answer that might apply to a Star Trek movie... I want it to be about the most horrible, treacherous aliens ever known to man who are about to destroy life as we know it, leading to the most spectacular thrill ride of an adventure with fantastic space battles and huge explosions and great special effects -- a white knuckle ride for the movie audience. Yeah, but what’s it about?I can write space battles with the best of them, but what makes that space battle interesting to me is: why are they fighting? What are the stakes? What does the hero lose if he loses? And what does he win if he wins? Why should we care? I'm talking about the second level of story-telling. The level that examines what's going on inside the characters — their moral and ethical dilemmas, their doubts, fears, inner conflicts, how they change as the story progresses. These are the things that make us, as members of an audience, get emotionally involved.

Yell. Jump. Play. Out-run those sons-of-bitches. They'll never live the way you live. Go do it.