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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 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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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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Like many people of my generation, I feel like I survived my adolescent mischief only by a miracle, and it seems too much to hope for that the same miracle would befall my children - therefore, I want to make sure they take fewer chances than I did.
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As a journalist, I have wanted very much to find a way to write about the music industry, and it's been frustrating to me that that's never worked out.
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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 have a tendency to coddle my sons because I want to keep them safe, but I also want them to be strong and independent and curious and bold, and I worry that my coddling is going to have exactly the opposite effect.
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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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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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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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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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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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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'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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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'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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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 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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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 learned you have to move fast, writing futuristic satire in America: Before you know it, you're a realist!
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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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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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If you don't have people that the reader cares about and stories that are gripping, you've got nothing.
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Time is always a component of place; you can't really talk about where without talking about when.