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“History tells us more than we want to know about what is wrong with man, and we can hardly turn a page in the daily press without learning the specific time, place, and name of evil. But perhaps the most pervasive evil of all rarely appears in the news. This evil, the waste of human potential, is particularly painful to recognize for it strikes our parents and children, our friends and brothers, ourselves.”

“I update my MySpace every day, I update my Facebook fan page, but that's about the extent of it. I don't want to get into extended conversations with people on MySpace, because there are friends I have extended conversations with every day. I'm on the phone every day. There's like five people I just call and yak with every single day. And that to me is my Internet. You can replace the Internet with five really smart friends.”

“My best times are midnight to six actually. I'll leaf through my notebooks and if something catches my eye and I feel like I want to transfer it from the notebook to the page, I do, and then comes this very strange process which is difficult to describe in that I'll write until I get stuck or I can't go any further or I'm boring myself or whatever and then I might go to another poem.”

“But I'm not a small-literary-novel kind of guy, and once I'd developed the world in the first couple of hundred pages, I felt that there was potential here to go on and write an engaging story set in that world. So that's what I did. This probably ruins things both for the people who want small literary novels and for those who want action-packed epics, but anyway, it's what I wrote.”

“It was very definitely architectural. I was using the words on the page as some kind of equivalent of a physical model. But I never thought at that point that I wanted to move toward architecture. I wanted to move toward real space. Sure, that's probably another way of saying, I want to move toward architecture. But I didn't define real space in terms of architecture, then.”

“I think smart aggregation is a service to readers. And we do it, too ... . Whether it's a politics page and you want Dan Balz to tell you what is he reading, what does he think are the smartest articles today on the elections or the primaries. So, I think aggregation is great ... . So I'm all for aggregation. And the more eyeballs we can get to our content, the better. We do want readers to be educated and to understand the difference between, what is a source that you can trust as opposed to just rumors out there. And the difference between just repurposing content and not crediting it.”

“I really loved the story. I originally read for Walt Longmire. He is obviously a very dynamic, strong, manly man that almost any dude would want to play. Once I got in the room and met with everybody, the feedback came back that they loved me, but that I didn't have the age. And then, they brought up the idea of Branch, who wasn't that interesting on the page in the pilot, but once they explained the vision, I really bought into it.”

“In a typical 401k plan, when you first become eligible you get a big pile of forms and you're told, fill out these forms if you want to join. Tell us how much amount you've saved and how you want to invest the money. In, under automatic enrollment you get that same pile of forms but the top page says, if you don't fill out these forms, we're going to enroll you anyway and we're going to enroll you at this saving rate and in these investments.”

“My first jobs were at Pixar and John Lasseter just doing animation would always allow actors to do that, and then animate to that. It was an early lesson for me that, if you're lucky enough, as I've been in my career thus far, to get really incredible iconic people to do your stuff, you want them to tell your story and you want them to be on page in the important moments, and they usually are.”

“I can't relate to the idea of suicide. I guess I'm just one of those people that is always optimistic and upbeat. But one day, I sat down. I said 'You know what? Just to kind of purge myself, I want to see what its like to feel that low'. So I decided to write a suicide note. Yeah, just to kinda flush it out there and put it on a page. And I started to do this, and I had an epiphany. I'll share this with you: a suicide note that is written by somebody that is not suicidal is called an autobiography. I am on Chapter 58.”

“A novel can educate to some extent, but first a novel has to entertain. That's the contract with the reader: you give me ten hours and I'll give you a reason to turn every page. I have a commitment to accessibility. I believe in plot. I want an English professor to understand the symbolism while at the same time I want the people I grew up with - who may not often read anything but the Sears catalog - to read my books.”

“When you achieve it fully, you create something that's transparent - that people can move into and through their own experiences. As a writer, I don't want people spending time thinking, "What does she mean?" I want, in a way, my text to go away. So that the words on the page become a door to one's own internal investigation. It's just a passage. If the work does its job, it just opens.”

“Whereas if you were writing an op-ed piece or an essay, somebody would be asking, "What's your point?" With poetry you can stay in a moment for as long as you want. Poetry is about metaphor, about a thing standing in for something else. It's the thing that opens out to something else. What that something else is changes for readers. So what's on the page - it falls away.”

“It's difficult to really be an artist nowadays. People are just on another page. You have a society that needs you to say something, but they don't want to give you the environment to be able to be just a functioning, happy, normal person. It's like, the industry is at odds with you, the society is at odds with you. You start to live in this very confined box where it's like, It's "me" and "them."”

“Not to any really influential effect, but certainly there have been comments that have surprised me. It's surprising sometimes to get particular perspectives on your work, and it's enlightening sometimes to know that non-writers and readers out there have certain assumptions about everything that I both want to keep in mind and want to forget about why I write, and about the connection between me as a private person and the stuff that I think about on the page.”

“You know, my problem with most screenwriting is it is a blueprint. It's like they're afraid to write the damn thing. And I'm a writer. That's what I do. I want it to be written. I want it to work on the page first and foremost. So when I'm writing the script, I'm not thinking about the viewer watching the movie. I'm thinking about the reader reading the script.”