I wrote 'The Zombie Survival Guide' because I wanted to read it, and nobody else was writing it. All I've been doing with everything I've written is answering questions that I had.
In the John Paul II days, Cardinal Joseph Ratzinger had the advantage of staying in his cupboard - the Congregation for the Doctrine of the Faith - exchanging views only with the Pope, and speaking publicly only through carefully written missives on doctrinal issues.
A great deal has been written in recent years about the purported lack of motivation in the children of the Negro ghettos. Little in my experience supports this, yet the phrase has been repeated endlessly, and the blame in almost all cases is placed somewhere outside the classroom.
Partying and having all of those pictures taken distracts from the work that I do. It's not why I started acting. I didn't get into acting to be written about. It kind of just happened - so I accept that it's my life.
I want to prevent us reifying 'the Internet' as something to be preserved like some people want to preserve the American Constitution as it was written.
I've made a dozen films in the English language. But then, for love, for my family and friends, I returned to Europe... I annoyingly - looking back - turned down films like 007, 'For Your Eyes Only,' written specially for me.
The habit of breaking up one's colour to make it brilliant dates from further back than Impressionism - Couture advocates it in a little book called 'Causeries d'Atelier' written about 1860 - it is part of the technique of Impressionism but used for quite a different reason.
I had written a tune called 'Shake, Rattle and Roll,' but the white stations refused to play it - they thought it was low-class black music. We thought what we needed was a new name. But a white disc jockey named Alan Freed laid on it, and he thought up the name 'rock n' roll.'
I had spent my childhood making up adventures in my head. Then I realized when I went to acting school that there were adventures written down, and you could learn lines, and you could do the adventures for real, not just in your head.
Whenever there's an opportunity to celebrate the written word and celebrate the folks that read the written word, and, I think, to encourage other writers to write and encourage folks to read more and get connected to it in a personal way, it's a positive thing.
What I hope is that those with the knowledge of the humanities break into the closed society where code gets written: invade it.
Sometimes I wonder if I'm a character being written, or if I'm writing myself.
The thing is, 'Discworld' had been going on for a very long time, and I've written children's books as well. Usually when people have a really big series they franchise it, which I thought is a bit of a no-no, so I thought what I'd do is I'd franchise it to myself.
Take any writer you want in the 19th century: they wrote with quill pens, dipping a piece of goose feather in ink and writing. And yet we read those novels today, and if we're sensitive to them, we respond to them with an immediacy that is stronger than anything written today on a word processor.
I want Green Arrow to have fun. I don't want him to be a tortured hero. I mean, I've written plenty of tortured heroes, like Daredevil. But it's all there in Daredevil's origin as to why he'd be a tortured adult. Green Arrow doesn't have that kind of origin. In fact, he's such a clean slate that he doesn't even have an origin anymore.
In general, a writer would like to think that the best book that he has written is the book that he is writing, and the next book will be even better. Maybe if this is not true, it is very useful to keep the illusion alive.
In my mind, every single female character I've written is plus-size.
I like my films to have a certain amount of realism - something that's thought provoking and intelligently written. More than the amount on the pay cheque, I look for a level of respectability as an actor.
In seven books, I've written my fair share of baby epilogues. Pregnancies and births and even grandchildren have made an appearance in the final pages of my books.
I've always had a fascination with pirates. You know, I've written a song completely inspired by I want this to feel like pirates, you know, fighting together, made a music video about it, yada, yada.
In my first 15 or 20 years of authorship, I was almost never asked to give a speech or an interview. The written work was supposed to speak for itself, and to sell itself, sometimes even without the author's photograph on the back flap.
There is a tradition that sees journalism as the dark side of literature, with book writing at its zenith. I don't agree. I think that all written work constitutes literature, even graffiti.
It's not a nice thing to have a song written about you.
With almost every book I've written, my secret target audience is the young therapist. In this way, I am staying in my professorial role; I'm writing teaching stories and teaching novels.
I think that reading is always active. As a writer, you can only go so far; the reader meets you halfway, bringing his or her own experience to bear on everything you've written. What I mean is that it is not only the writer's memory that filters experience, but the reader's as well.
I got to thinking about the Book of Revelation that was written by a Jewish prophet who was also a follower of Jesus who hated the Roman Empire. I realized that the Book of Revelation could be a way to reflect on the issue of religion's relationship to politics.
Money is an unavoidable consequence, but it isn't the reason I write; if it was, I wouldn't have written any of the YA books, because advances in that field are small compared to what I'd got now for an 'adult' DW.
What had brought me to New York in the autumn of 1972 was a letter of recommendation written by Norman Mailer, the author of 'The Naked and the Dead' and American literature's leading heavyweight contender, to Dan Wolf, the delphic editor of 'The Village Voice.'
A serious and good philosophical work could be written consisting entirely of jokes.
Genes are like the story, and DNA is the language that the story is written in.
'Upstairs Downstairs' and 'Downton Abbey' appeal to people because they're about our history, they look so beautiful, are written by amazing writers and have high production values.
When I first did 'Empire,' it was a severe break from everything I'd written up to that point, which is all very continuity-driven, super-heroic, and ethics and morals-infused. 'Empire' was a chance to break away from that.
I cross things out more than I write them. And if I try to sing a line, and I know that it's written incorrectly, I get this weird sort of physical nausea, and my mouth curls up all strange. I guess that's why I always write the words first: because, if everything feels okay, I'm ready to put it to music.
Every really good book was written a little at a time, over time, in tremendous confusion and doubt.
I've always written songs that were confessional, acoustic, wordy - my writing style matches my personality. The music always has to match the mouth it comes out of.
If there's a book you really want to read, but it hasn't been written yet, then you must write it.
