There is one thing you know for sure, one fact that never fails to comfort you: the worst day of your life wasn't in there, in that mess. And it will do you good to remember the best day of your life wasn't in there, either. But another person brought you closer to those borders than you had been, and maybe that's not such a bad thing.

I think the goal with any writing, but especially narrative nonfiction, is to put the blockade of putting your thoughts in this unnatural medium of print and then trying to reach through that and actually convey what's going on, what you think, and make people laugh and recognize themselves while doing it. Definitely the laughing thing.

Sometimes in New York, you're walking down the street and you realize there's a girl walking in front of you whose thighs you could hit a golf ball through, and maybe that makes you depressed.

In New York and L.A., there is sort of that silent competition to be on the cutting edge of something. You end up having a conversation with how the world receives your work, especially if you are writing narrative, not fiction. Sometimes it is an awkward conversation. It's like group therapy.

You can't possibly fathom the ins and outs of a prepubescent beauty treatment until you've felt the strange but exhilarating tingle of a cottage-cheese-and-Pop-Rocks facial.

I was pretty dorky, but there are tiers of dorkdom and I always had friends, though they were equally dorky. I was one of those kids who contracted cooties in the second grade and then had cooties, because there wasn't a vaccine for it. When I was around people, though, I generally wanted to make them laugh. I told a lot of stories.

I can't see the forest through the trees, except the trees are people.