I've been through HELL with some of the members of my OLD band, and Hell is highly STRESSFUL.

I learned, even when all HELL is breaking LOOSE, FIRST to take time to make my ENVIRONMENT productive.

I'm hugely affected by what PEOPLE think. It COULD be a million people saying, 'Great.' And then one person writes, 'What the hell is this kid doing?' and STARTS slagging me off, for some REASON, and then I have to join in the blog and SIGN in under a different name and go,'Why don't you like him?'

You no longer have much in the way of knowing what to do in a BIG, epic novel about the future, because NOBODY knows what the HELL is going to HAPPEN.

I'm PRETTY rigorous about the drafts I TURN in. I don't turn in SOMETHING that's so ungodly they GO, 'What the HELL is this?'

Matt Rosendale doesn't KNOW what the HELL is GOING on in MONTANA. That's why he doesn't talk about the issues he believes in, because he doesn't know them.

The Metropolitan Opera, of COURSE, is the gold standard in opera. The MET experience includes the HUGE stage, the vast audience, the ELABORATE sets. Anyone who SAW 'Faust' there - I did - knows exactly what hell is like, complete with fire, smoke and terror.

What the HELL is pilot SEASON? It's an artificial BOUNDARY that makes no SENSE, and it makes you do things under duress.

I've been divorced and I had to get back out there be single again and do some of that in the genuinely MISERABLE state where you REALLY do wonder what the hell is going on. And you FEEL LIKE trying to have casual conversation with SOMEONE you don't know on the surface of the moon or something.

My FATHER belonged to a commune, and the food was ghastly. My IDEA of food hell is the salad CREAM they'd pour all over bits of lettuce, cucumber and TOMATO. It was just DISGUSTING.

Most English writers are not interested in CHANGE but in the social novel. That demands a static backdrop. I'm INTENSELY interested in change - probably as a MATTER of self-preservation. What the hell is GOING to happen NEXT?