She looks at herself in the mirror. The idea is to look sexy again. And for whom exactly? Yourself, of course. Yes, well, that's all wonderfully self-affirming and very strong-minded as any decent woman should be these days, but let's just face facts here and say that when a woman - no, when a person is thinking about feeling sexy, it is always with the idea of someone else in mind.

Being serious is serious business in fiction. It's commercial or hoi polloi in fiction to be funny. It's too accessible to the great unwashed.

The main questions of everyday life are too enormous to answer in any definitive sense.

I think one of the ways you avoid being angry is to avoid being angry at the people in power. They might do crappy things, and piss you off, and make bad decisions, but they shouldn't be hated simply because they're in power. And I thought it was important to humanize them if the book was going to be even-handed to all the different ways you encounter people at work.

Comedy is like fictional charm. It's the charm of fiction. Or the charisma of fiction. When you meet somebody who's immediately charismatic, you're attracted to that person. And in fiction it's got to come out in either one of two ways: in the prose itself, and you're hooked immediately because you never want to leave such a colorful and penetrating world. Or, it's simply being a funny writer.

There were times where I felt I was pressing a little bit too hard with the humor, and I had to pull back, because the overriding concern of the book was to create this disease that had no cure and make you pay attention to every emotional stage of what happens.

Humor is a very big part of life, and if you exclude humor from your book, you're not capturing a very important part of human experience.