Chuck Klosterman

I also did an Ozzy piece for him, and so I got hired. Everything happened really fast. I can't give people advice, because everything in my life changed completely in less than a year and it's still not something I am used to.

In Fargo, they say, well, that's a job. How well do you get paid? For example, for this book I was written about in Entertainment Weekly, and it was kind of cool because my mom asked me if Entertainment Weekly was a magazine or a newspaper.

I grew up on a farm, and we didn't have cable and only limited radio stations, so I wasn't inundated with culture the way people in other parts of the country were. But I was really interested in it.

The biggest problem in rock journalism is that often the writer's main motivation is to become friends with the band. They're not really journalists; they're people who want to be involved in rock and roll.

The biggest hurdle to writing Fargo Rock City was that I couldn't afford a home computer - I had to get a new job so I could buy a computer. It could all change though. In five years, I could be back at some daily newspaper, which wouldn't be so bad.

A whole bunch of months passed and I didn't hear anything and then he emailed and asked if I could do a little piece on POD and Queens of the Stone Age.

It didn't seem remotely possible. I had no idea how people got those jobs, I didn't know what the steps were, it never even dawned on me. It seemed so outside the realm of possibility.

It's just that what's important there is different there than what's important is here. Here, people care that you wrote a book or that you work in the media.