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Reading is a lot like eating for me: If I try to read a book I'm not hungry for, I won't enjoy it, but if I wait until I have a real appetite for something, I'll devour it.
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I've never been that confident. I don't tend to think, swaggeringly, 'I'm going to ace this.' It's just not who I am.
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I felt more doubtful than usual with 'Goon Squad,' because I knew that the book's genre wasn't easily named - Novel? Stories? Novel-in-stories? - and I worried that its lack of a clear category would count against it. My hopes for it were pretty modest.
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I think a playful critique is good for all of us, and that's basically how I see satire functioning. But I'm not interested in a kind of contemptuous satirical vision; I try always, even when I'm knowingly being satirical, to also be humane, but I mean, let's face it: there's plenty in American life to make fun of, and we all participate in it.
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I'm just interested in serialization in fiction. I'm fascinated by it. I love the 19th-century novels. I'm interested in ways to bring that back to fiction.
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What lists and awards don't measure - and I feel this strongly - is the lasting value of any work of art. They're a snapshot of a moment, and one should always consider their judgments in that context.
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The book that is the closest genetically to 'Goon Squad' is 'Look at Me.' It has the futuristic element - although, freakishly, almost every aspect I invented has come to pass in some way, including the terrorist who fantasies about blowing up the World Trade Centre. That was extremely uncomfortable. The book came out on the week of 9/11.
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The sheer sensory experience of San Francisco is unlike anywhere else. Not just the physical beauty, but the textures, the feel, the wind, the ocean. It's a monumental feeling unrivaled by anywhere else. Its a world class, gorgeous city. And the coffee is great.
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I learned you have to move fast, writing futuristic satire in America: Before you know it, you're a realist!
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I write totally spontaneously. I actually write fiction by hand - that always seems to startle people. I think the reason I do that is to bypass the thinking part of me and get to the more unconscious part, which is where all the good ideas seem to be.
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I've tried writing on a computer thinking it would make me more efficient, but if you're writing crummy stuff, being efficient is no help.
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I was on a very bumpy plane ride, an overnight flight. I was so miserable, and I pulled out 'David Copperfield,' and I forgot how scared and tired I was, and I thought, 'This is what reading should be.' I'm utterly transported out of my current situation.
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I grew up in the '70s, when people talked on the phone - and just talked more. I remember the phone was the epicenter of our house. I spent hours every evening as a teenager waiting for the phone to ring and talking to my friends.
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I number my drafts, and by the time a book is done, I'll have 75 or 80 drafts of some sections.
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I listened to classic rock and roll, and punk rock. 'Goon Squad' provides a pretty accurate playlist of my teenage years, though it leaves out 'The Who,' which was my absolute favorite band.
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Proust, my big inspiration for 'Goon Squad,' uses music a lot in his novel, both in terms of plot and structure. I liked the idea of doing the same thing, which is one reason I structured 'Goon Squad' as a record album, with an A side and a B side, that's built around the contrasting sounds of the individual numbers in it.
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I haven't read a lot of science fiction, and I never intend to write it; it seems to happen a little bit inadvertently for me, in that I'm trying to follow people into points in their lives that demand that I investigate the future.
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I write to escape from my life. Writing about men separates 'me' from my work in a way that I find comforting.
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I spend so long writing each of my novels that by the time I'm done with one, I'm ready to discover a totally different world.
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One of my strengths as a writer is that I'm a good problem-solver. I write these unthinking, ungoverned first drafts. The project for me always is to turn that instinctive stuff into pages that work.
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Time is always a component of place; you can't really talk about where without talking about when.
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To some degree, we're all thinking about the same things. It's the zeitgeist. The trick, in a way, as a writer, is to hope that your interests in some sense link up with the culture around you.
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My first attempt at writing a novel was horrible. I had to throw it away. But I stuck with the idea, which is what became 'The Invisible Circus.'
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I love the thriller genre generally. I like murder mysteries and those kinds of adventure stories.