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I use these senses - touch, sight, feel and smell - as triggers that invite readers or propel them into the scene. The trick is not to make it obvious. I've written an entire chapter about this in my book, 'The Successful Novelist.' I've lectured about it extensively, but have yet to see many people pick up on it.

There's something about being in a house with an audience, and having that immediate feedback. I started acting because of that energy; it's what feeds me on stage and informs my choices.

As a standup performer, I'm onstage, and it's important how the audience is looking at me. I'm looking at whether they're leaning forward or not, those types of things. You read an energy. And it's the same thing in a scene with other actors.

In the same way that I'm open when I speak, I'm that open on stage. I feed off the energy of the audience, too, so they're feeling what I'm feeling.

When I'm on stage, my interaction with the audience is something that really makes me come alive. It's a feeling like no other. The energy of the crowd fuels something new inside.

I'm quite intuitive about what I pick. Often it's to do with what I've just done and how I'm feeling.

However, some of my work is very subtle, and one should expect very subtle reactions to it.

I'm very picky, and I'm never 100% happy with the work I do; I hate watching myself and hearing my voice.

The process of receiving information for me is seeing, hearing, and feeling their energy in my frame of reference. That doesn't mean I see the individual, unfortunately.

People try to look for deep meanings in my work. I want to say, 'They're just cartoons, folks. You laugh or you don't.' Gee, I sound shallow. But I don't react to current events or other stimuli. I don't read or watch TV to get ideas. My work is basically sitting down at the drawing table and getting silly.