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.

Like any normal fifth grader, I preferred my villains to be evil and stay that way, to act like Dracula rather than Frankenstein's monster, who ruined everything by handing that peasant girl a flower. He sort of made up for it by drowning her a few minutes later, but, still, you couldn't look at him the same way again.

There are lots of things that happen to me that I don't write about.

Kools and Newports were for black people and lower-class whites. Camels were for procrastinators, those who wrote bad poetry, and those who put off writing bad poetry. Merits were for sex addicts, Salems were for alcoholics, and Mores were for people who considered themselves to be outrageous but really weren't.

The drama bug strikes hardest with Jews, homosexuals and plump women who wear their hair in bangs. These are people who, for one reason or another, desperately crave attention

My sister's the type who religiously watches the fear segments of her local Eyewitness News broadcasts, retaining nothing but the headline...Everything is dangerous all of the time, and if it's not yet been pulled off the shelves, then it's certainly under investigation -- so there.

Do I exaggerate? Boy, do I, and I'd do it more if I could get away with it.