Paul Rudnick is a champion of truth (and love and great wicked humor) whom we ignore at our peril.

It can take years. With the first draft, I just write everything. With the second draft, it becomes so depressing for me, because I realize that I was fooled into thinking I'd written the story. I hadn't-I had just typed for a long time. So then I have to carve out a story from the 25 or so pages. It's in there somewhere-but I have to find it. I'll then write a third, fourth, and fifth draft, and so on.

In Paris you're always surrounded by French people.

The rabbit of Easter. He bring of the chocolate.

I think I became a better writer after I started writing for the New Yorker. Well, I know I did. And part of it was having my New Yorker editor and part of it is that was when I started really going on tour and reading things in front of an audience 30 times and then going back in the room and rewriting it and reading it and rewriting it. So you really get the rhythm of the sentences down and you really get the flow down and you get rid of stuff that's not important.

I always used to reach for the cigarette when the phone rang, and I figured nobody would ever call me in Tokyo. The time difference is so profound it's, like, already September in Tokyo, and I figured nobody would be able to work it out.

I hate you' she said to me one afternoon. 'I really, really hate you.' Call me sensitive, but I couldn't help but take it personally.