It took, for me, a long time to develop this idea of what to do on the radio. But from the beginning of my time in radio, I had pretty non-traditional tasks.

At some point, all comics have to go out and be retail salesmen doing door-to-door. And this idea of somebody who totally knows their craft having to get up for free in front of a crowd to work out some stuff they're thinking in their head, still, after as much success as you can get, is really interesting.

I think good radio often uses the techniques of fiction: characters, scenes, a big urgent emotional question. And as in the best fiction, tone counts for a lot.

It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions.

It's hard to make something that's interesting. It's really, really hard. It's like a law of nature, a law of aerodynamics, that anything that's written or anything that's created wants to be mediocre. The natural state of all writing is mediocrity... So what it takes to make anything more than mediocre is such an act of will.

When I was a bad writer, I would consciously imitate other NPR writers who I thought were wonderful. I suppose that everyone's artistic practice is different. But I collaborate and sometimes don't agree at all with my collaborators' opinions. It forces you to understand why you don't agree with something: what's the fight you're picking.