Every book has to start with a first chapter, and I think that 'Middle of Nowhere,' 'Mmmbop' and 'Where Is the Love' are good places to start for us. I don't think it's a bad place.
I was having a lot of people ask me to update 'The Shock Doctrine' and add a chapter about Trump.
I suppose whenever you go through periods of transition, or in a way, it's a very definite closing of a certain chapter of your life - I suppose those times are always going to be both very upsetting and also very exciting by the very nature because things are changing and you don't know what's going to happen.
For a writer, New York works well. Literary work is very elitist. I worked two hours a day, maximum, and the time after that was very agreeable. I walked a lot with pleasure. Those two hours augmented the day. I wrote more here than in Paris, an entire chapter of a new novel.
Borrowing something from one art form and relocating it in another always has a whiff of pretension about it, like in books if, instead of 'Chapter One,' you have 'First Movement.'
I sat down with a yellow legal pad and began writing 'A Time to Kill.' Had no idea what I was doing. It became, over a period of several years, a secret little hobby nobody knew about except my wife, because she was reading chapter by chapter.
My hair has been this chapter thing for me. In 'Jem,' I have blue hair. 'Insidious,' it's pink. In 'CSI,' I have blonde. I love changing my hair. It's just hair and it grows all the time.
Yes, I'm a 'Twi-hard.' I became obsessed. Absolutely obsessed. I didn't watch television, I didn't go to the cinema. My friends would ring and say: 'What are you doing?' And I would say: 'I've just got to finish this chapter.'
I felt like my favorite writers have almost musical hooks in their work, whether it's poetry or a hook at the end of a chapter that makes you want to read the next one. And I think that my favorite writers definitely have something musical about what they do, in saying something so relatable and universal and so simple.
