I don't think anyone will believe me, but I've never been pressured by a publisher to churn out a book.
I'm always looking at ways of shaking up the writing experience because I think it helps.
We want our government to protect us, to make sure something like 9/11 never happens again. We quickly moved to give law enforcement more power to do this. But that now begs the question, did we move to fast? Did we give too much power away? I don't have the answer.
I think there'd be huge losses if there weren't newspapers. I know everything's shifting to the Internet and some people would say, 'News is news, what you're talking about is a change of consumption, not the product that's out there.' But I think there is a change.
I wrote my first real murder story as a journalist for the Daytona Beach News Journal in 1980. It was about a body found in the woods. Later, the murder was linked to a serial killer who was later caught and executed for his crimes.
The philosopher Friedrich Nietzsche once wrote that when you look into the darkness of the abyss the abyss looks into you. Probably no other line or thought more inspires or informs my work.
I get up to write while it's still dark, 5 or 5:30. I start by editing and rewriting everything I did the day before, and that gives some momentum for the day.
I think there's a general misconception that anything written quickly lacks quality, and I don't believe that.
As soon as I got to L.A., there was this big crime where these guys tunnelled underneath a bank on a three-day weekend and went right up to the vault and emptied everything out.
Write every day even if it is just a paragraph.
We're all seeking order. We're all seeking control.
I trust the readers to build their own visual images. To me, that's part of the wonder of reading.
Deep in my heart it still feels like I'm a journalist even though I haven't worked for a paper and carried a press pass for 14 years.
People like the Bosch books because they like Harry Bosch, not because the plots are fantastic.
I've crossed the Mexican border and gone to Tijuana a few times over the years, but I've never felt comfortable there.
There are nineteen Harry Bosch books, and someone told me if you add up the descriptions of Harry from all of them, it would come to less than three pages. He's very elliptically described over the two decades during which the novels occur. I did that by intention.
L.A. is a long shot city, and those who make that shot - you can tell. You can see very clearly who's made it and who hasn't.
Being a journalist always makes you a quick study of wherever you're at. You're out all the time and seeing places that normally you wouldn't get to see. It gives you an unusual level of insight into any place.
That's the irony in the work: the best stories are the worst things that happen. My best times were somebody else's worst.
I could not have been happier with 'The Lincoln Lawyer.' They got the essence, and the casting, starting with McConaughey, was just perfect.
That's what I like most about writing fiction over journalism: the easy metaphors!
When you're working on a novel, you never think about how much it would cost to shoot one of your scenes. But that's a huge consideration in film and TV.
I not only read Raymond Chandler but read all the crime fiction classics. I was hooked.
It's about being fair. It's about Black Lives Matter. Yes, they matter. Everybody counts or nobody counts, and I think if more cops had the philosophy of Harry Bosch, we'd have less of these situations happening.
The LAPD, like most police departments, is a male-dominated bureaucracy. A woman faces a lot of pushback.
My grandparents were all born in the U.S., but their parents came from Ireland.
Eight to ten years in a patrol car? I didn't have that in me.
I wanted to learn about the worlds I wanted to write about in fiction.
When I was a teenager, I was a voracious reader of crime fiction, but only contemporary books. I was not interested in reading 'The Glass Key' or 'The Maltese Falcon' - stuff that was 40 or 50 years old.
I was a police reporter, so I got into the worlds that I write about, and I think many of the details in my books come from those days.
I write at a pace that suits me, and sometimes it's two books a year, but most often it's one.
The fulfillment I get from a good day of writing is addictive and will always bring me back the next day.
The act of reading a story is sacred, and people build images and all that stuff.
In 1995, I sold the rights to Harry Bosch to Paramount. They had several screenplays written, but a movie never happened. Harry Bosch went on the shelf, and I had to wait 15 years to get him back.