You have a lengthy background in the New York comedy scene. That must have made writing a humorous book easier.

Actually, I think it made it harder.

Why? That seems counter-intuitive.

Well, having told so many of the stories [in A Bad Idea I’m About to Do] on stage made me know what the funny parts were, I’ll give you that. But when you’re on stage telling stories, you have charm working for you. You have the ability to control the timing of things. Most importantly, your audience can see that you are alive and okay and a relatively happy, well adjusted person. So you can go dark and know that your presence and performance help blunt the grim side of your funny tales. On the page, you don’t have those luxuries. I had to do a lot of altering of things, a lot of expanding of certain areas, and a lot of soul searching to include some very personal stuff in the book that I wasn’t used to delving into as deeply on stage. My earliest drafts read like transcripts of a stage performance. That’s not good. The stuff that shows up in the book is a lot more fully fleshed out and brutally honest, which is saying a lot, because I think I was already pretty brutally honest about this stuff when I would talk about it on stage.