JOE MENO

My first book is really comparable to what I do now, where it's pretty surreal and strange at moments, but that being my first book - I wrote that when I was 22; it came out when I was 24 - and it was just really overwritten. I just didn't trust myself as a writer to say something once.

When you're reading, like, a character's thoughts, or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me, that's what the whole point of fiction is.

When I was growing up in the '70s and '80s, by the time you were 16, you were kind of expected to be an adult. By the time we were 16 and able to drive, certainly by 17 or 18 and into college, you just had very little interaction with your parents.

What makes my work my own is where I'm writing from. And I feel like I have a million stories to write about Chicago.

Most novels put out by small or corporate presses don't really sell that well - usually a thousand copies or so. Working with a small press, you have to be willing to book reading tours, plan events, make contacts with other small press authors, and find new ways of getting word about your new work out there.

There's slowly been a kind of shift in how we think about childhood. It's like childhood almost extends to 20 or 22 even after the end of college. When I was growing up, there was this expectation that you were on your own now.

In my fiction, there's a lot that's borrowed from music. It's never like I'm taking a lyric, but more the mood of a particular song. 'The Boy Detective Fails' was like listening to 'Eleanor Rigby' by The Beatles, this very melancholy-but-poppy song.

I would say I have a complicated relationship with institutionalized religion.

Whether you work with a small or corporate press, the important thing is to have realistic expectations in terms of sales, promotion, and the work you have to do as an author promoting your novel.

As an author on a corporate press, you have a lot less control over the finished product. I figure if I spend a couple years writing something, I want to be able to decide what the cover looks like and how it's going to be presented.

I tell my students that with a 200-page novel, you are going to write 100 pages that don't make the final cut. See it as an opportunity, although it took me a while to enjoy that 'lost in the woods' feeling.

I felt really lucky that 'Hairstyles Of The Damned' and 'The Boy Detective Fails' were both bestsellers, and I thought that donating the money from 'Demons' was a good way to respond to that. My favorite artists are the ones that are willing to experiment, even if it means a smaller audience.

I have a number of friends that try to live off their writing, and there's way more pressure for a hit or to write a certain type of book. You can't do a limited-edition short-story book with drawings unless you don't want to eat anything but ramen.

Funny as hell, searingly honest, and urgently real, Sam Pink's Rontel puts to shame most modern fiction. His writing perfectly captures the bizarre parade that is Chicago, with all its gloriously odd and wonderful people. This book possesses both the nerve of Nelson Algren and the existential comedy of Albert Camus.

Sex scenes in books are always like first person, from this male perspective and just about how awesome he is. It feels like such a fantasy.

An act of evil is the death of wonder

What I've learned is that there is nothing in this life that does not fail to disappoint us, even our own deaths.

We have fun acting like this, acting like we are incredibly offended. Really, we are just bored to tears with everything.

Do not be confused by what the natural world knows: We are all, in our own way, completely and totally alone. If love is real, it is complete and total failing of the intellect. It is utter self-destruction. It is pandemonium.

Being decent is the only thing that matters in a terrible world like this.

Maybe that's why people have friends at all. Not because they like them so much but because they don't make them feel so much worse.

Sacrifice doesn't really exist on a national level anymore and that's a pretty new thing - most people aren't engaged nationally in some form of service and that changes the way you think about people in your country; you kind of think of them at a distance. And so there's that shift away from some sort of sacrifice - thinking of yourself as the most important thing in the world versus thinking of yourself as some sort of a whole.

It is what we see when we imagine what the afterlife must be like: our happiest triumphs, our most sincere moments, stolen from the seam of our lives, a respite just before the onset of imminent tragedy.

The boy detective thinks, The only thing all men have in common with one another is their inherent capacity to make mistakes. He reasons, But there is wonder in the attempt, knowing we are all destined to fall short, but forgoing reason and fear time and time again so deliberately.

I'm kind of interested in learning to learn and grow and challenge myself. I think I've been very fortunate in that my books are pretty different from one novel to the next. There's a lot of things that are similar but in terms of tone and the scale and how they interact with history and just the different styles as well.