I write about the period 1933-42, and I read books written during those years: books by foreign correspondents of the time, histories of the time written contemporaneously or just afterwards, autobiographies and biographies of people who were there, present-day histories of the period, and novels written during those times.
Most important of all, there is no right or wrong way to write - there's only what works for you. I was taught to write every day, but I know a writer (a bestseller at that!) who only writes on weekends.
I would have really loved to have gone on a hiatus to write for Daredevil.
Write the best book you can, the one that demands to be written, no matter what genre it is. Even a trend the trades tell you has gone stale can be revitalized by a superb piece of writing. It'll never be revitalized by someone jumping on a trend bandwagon.
I know I've erred in the past putting too much of my social justice sentiments in comics, but hopefully not too much, and I tried to only do that with characters that it made sense with it. These days, with the 'social justice' aspects of the two books I write, 'Catwoman' and 'Katana,' the concerns are more about moral justice.
I have my good days and my bad days, but I don't have as much energy as I used to back when I was young and foolish and didn't count the cost - and it takes a lot - to write.
In addition I wanted to write a Southern novel, because I'm a Southerner.
What I aspire to do, and what I try the hardest to do, is write stuff that's very personal in its way. I figure I can only say things the way I say them, so I'm trying to do something that is kind of anti-generic.
I tend to write about dark things that happen in a very domestic setting 'cause that, to me, is much scarier than the unknown.
I had begun to write novels because of a fierce, self-serving impulse in my own heart. I had not considered the potential in a book for felt communion, the bright largesse of intimately participating in the lives of other people.
I kind of got more interested in writing after I turned in my last college essay and nobody was going to tell me what kind of academic papers to write anymore. I could write whatever I wanted, and I realized that I actually liked it when I could choose what I would write.
A great deal of my mail comes from fans of the 'Oz' picture - fans of all ages. The scholarly, the curious, the disbelievers write and ask how? why? when? what for? did you fly? melt? scream? cackle? appear? disappear? produce? sky-write? deal with monkeys? etc., etc., etc.
The way that Lucasfilm used ILM was George never restricted his thinking to things that he knew could be executed with the tools at the time. He would write what he thought would be cool and what he wanted from a storytelling standpoint with the assumption that, 'Well, they'll figure it out!'
Why do I write books? Why do I think? Why should I be passionate? Because things could be different, they could be made better.
After writing 'The Omnivore's Dilemma,' I wanted to write a book that got past the choir, that got to people who didn't care about how their food was grown but who did care about their health.
You don't sit up in a cave and write the Great American Novel and know it is utterly superb, and then throw it page by page into the fire. You just don't do that. You send it out. You have to send it out.
Oddly, I feel more protected when I write in Italian, even though I'm also more exposed.
I think the first time I tried to write a romantic song, it was just horrendously embarrassing. I remember thinking, 'Okay, I'm not going to do that anymore.' I think that sort of embarrassed me for the next 10 years.
You have to take your ego out of it and say, do I want people to be obsequious to me or do I want to write good books? If it's the latter, you have to take criticism. It's annoying, but that's how to do good stuff; listen to other people.
I don't aspire to write like Steve King. Sure, I admire his work, and I think he's a hell of a nice guy; we met shortly after my first Stoker win. I aspire to write like Jonathan Maberry.
Choosing to write a play is some kind of surrender. I don't make an outline. I sit and work, and suddenly the door opens, and out it comes.
I would never write a memoir, because it would be too boring.
If you can make a movie, make one. If you can sing a song, sing it. If you can write a play, write it. If you want to run for office, run. But do something to make this world a better place.
I could never write about strange kingdoms. I could never do 'Harry Potter' or anything like that. Even when I did science-fiction, I didn't write about foreign planets and distant futures. I certainly never did fantasies about trolls living under bridges.
When I think of Emily Dickinson, there's not one particular poem of hers that jumps out, but I do have a very vivid image of an ill woman with giant eyes who wants to write about the sun exploding.
I think as the world changes, we have to keep up. We have to note what is happening, and I think writing has always had a powerful corrective influence and possibility. We have to write about what's good, and we also have to write about parts of our culture that are not good, that are not working out. I think it takes a new eye.
My wife likes me to point out that she puts our daughter down to sleep more often than I do, which gives me time to write stupid books about it.
I was a huge fan of video games; I wanted to write something, and I saw the tools at my fingertips to upload a video to my audience, and that's why I'm here today. I think that freedom and the lack of gatekeepers, combined with people's passion, is what really the true spirit of Internet geekdom is about.
I used to write a lot of songs. I was an English major in college. I was a deluded poet for a year. Totally deluded.
I try never to focus on the radio, just find great songs, find emotion and just write the best songs you can. I think when you get fixated on trying to do something too accurate, it becomes more washed out and less what you intended it to be. So I think each time the challenge for me is to try and reinvent a little bit.
I'd love to be in Paul McCartney's shoes for a day. I'd love to pick up a guitar and write songs like he does. Or to experience what it might have been like to be a Beatle for a day.
If you love something - and there are things that I love - you do want more and more and more of it, but that's not the way to produce good work. So as an author, I need to write what I need to write.
Now you mustn't think that I don't have any ideas for novels in my head. I've got ideas for ten novels in my head. But with every idea I have, I already foresee the wrong novels I would write, because I also have critical ideas in my head; I've got a full theory of the perfect novel, and that's what stumps me.
I would love to write a script where the main character is a woman. I know I can direct a film where the main character is a woman. I cannot write that film.
I'm a filmmaker; I want to make films. I don't want to sit in a hotel room waiting to make films, and I can control my thing in Denmark; I can make the film I want to make... of course, I have to write a good script, all that, but if I do my job, it will happen.
I write so that people will read what I write. I don't want to write a book that a thousand people read, or just privileged people read. I want to write a book whose emotional truth people can understand. For me, that's what it's about.
