I was a freelancer all through my 20s and was very slow to get good at what I did.

Like, radio is closer to a Tumblr, or a blog, or Twitter, than it is to television, I think.

I've read the poker books, but at this point, everybody who's playing has read the poker books. I feel like I'm knowledgeable enough to understand what's going on in the game, and I understand why I suck. And I'm not sure if I'll ever rise beyond that to the level where I don't suck.

If you date one woman a year, times 10 years, and that's 10 women.

It's tricky, performing the show live. Because when you're in a big auditorium, in front of 700 people, the natural tendency is to want to talk louder. You want to project.

Reporters tend to find in others what they are suited to find, so there is a whole school of reporting where they are cynical about the world, and everything reinforces that. Whereas I tend to be optimistic and be amused by people and like them, even rather bad people.

For me to do a story, something has to happen to someone. It's a story in the way you learn what a story is in third grade, where there is a person, and things happen to them, and then something big happens, and they realize something new.

When you're learning, especially to write, unless you're some incredibly gifted writer, a young Malcom Gladwell, say, you need to be imitating people. You need to be imitating how they make their work, how they structure it, how they design the pieces. It gives you chops; it gives you moves.

'Smallville' is like a Domino's pizza. While you're eating, you're thinking, 'This is good, and it reminds me of pizza, but there's not enough flavor in each bite.' That's the feeling you have the entire time with 'Smallville' - that it's just about to be good, but it never is.

I'm a reporter - if I don't interview someone, I don't have much to say, and I definitely can't just sit down and knock out 800 words on any subject you give me.

Honestly, I am so ignorant of how dance works that I can't even imagine a story that you would want to tell through movement.

I don't tweet because I don't need another creative venue. I don't need another form for self-expression. I don't need another way to get my thoughts out to people. I have one. I'm good.

In most daily journalism, you only fact-check something if it seems a little fishy.

It's not a terribly original thing to say, but I love Raymond Carver. For one thing, he's fun to read out loud.

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.

I think people who live in New York don't realize just how much time they spend talking about the subway.

Traditional broadcast media seems old-fashioned and vague to me. When I watch television news, I'm aware of what skilled journalists they are, but I find it hard because of the corny way they present it.

I like excess. And giant M&M's.

I was a semiotics major at Brown, and there's this idea that stories are better, books are better, and movies are better if they cocked you off your axis and you were completely disoriented and you'd really have to rethink everything. Nobody has that experience, actually.

Harry Potter to me is a bore. His talent arrives as a gift; he's chosen. Who can identify with that? But Hermione - she's working harder than anyone, she's half outsider, right? Half Muggle. She shouldn't be there at all. It's so unfair that Harry's the star of the books, given how hard she worked to get her powers.

In radio, you have two tools. Sound and silence.

I don't think I'm better than everyone else at anything, but I am very quick at organizing a big mass of interview tape into a structure.

People are generally forced to change. We don't want to change, and then something absolutely forces us to realize that what we are doing isn't working or that our picture of the world is wrong. We fail. So we change.

We in the media accept the responsibility of what we do.