...uncorny, human sized drama
But sadly, one of the problems with being on public radio is that people tend to think you're being sincere all the time.
In some theoretical way I know that a half-million people hear the show. But in a day-to-day way, there's not much evidence of it.
One reason I do the live shows - and the monthly speeches at public radio stations - is to remind myself that people hear the show, that it has an audience, that it exists in the world. It's so easy to forget that.
When I say something untrue on the air, I mean for it to be transparently untrue. I assume people know when I'm just saying something for effect. Or to be funny.
We're Jews, my family, and Jews break down into two distinct subcultures: book Jews and money Jews. We were money Jews.
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's not a terribly original thing to say, but I love Raymond Carver. For one thing, he's fun to read out loud.
Just when did I get to the point when staying at a hotel wasn't fun?
Where radio is different than fiction is that even mediocre fiction needs purpose, a driving question.
Progress' constant companion is nostalgia for the way things used to be.
For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you.