I can't trace thematic similarities between Then We Came To The End and The Unnamed to a life event; I think it's more just a natural progression as a writer. Everything changes in the second book - tonally, character-wise, situationally - and on top of that, I think I wanted a challenge. I wanted to see if I could do it.

Without work, so much of one's identity just evaporates.

The office is a romantic enabler because you're always around the person you have a crush on. There's no escape from, and maybe no desire to escape from, those pressure-cooker conditions. And there's an automatic series of things you have to talk about all the time.

Once I had the voice, I knew I wasn't going to fall off the bicycle. I tap right back into it. It really was like learning how to ride a bike - you never forget, and I was able to carry it along with some ease. I never encountered any stumping problems that left me not knowing what to do, so I was mostly able to hold my ground. Of course, I should mention that it took me a long time to actually acquire the voice; there were a lot of frustrated attempts along the way, revisions to long sections and versions of the book that I abandoned.

If you can get by with quotes from The Godfather and nothing you say matters, that's pretty bleak, don't you think? Don't we want what we say to matter?

All broken hearts are circumstantial. Every lovelorn jerk is the victim of bad timing, good intentions, and someone else’s poor decision making.

After I left college I thought, very naively, that either you became someone interesting - an artist - or you went into academia. If you ended up in an office you were dull and lacking. And I ended up in an office.