After leaving ImageMovers, I sold two pitches to Fox Atomic, which I then wrote for them.
One of the benefits for me of starting late in this business is I realised that if acting was the only thing I could do, I would struggle, so I always wrote as well.
I did know Ted Hughes and I partly wrote the book to explain to myself and others the complexities of a marriage that was for six years wonderfully productive of poetry and then ended in tragedy.
I wrote my children's book because I believe there are children that are hurting and may need to know that there is love out there for them- God's love.
When we wrote the Constitution, the intention was to give the commander in chief the authority how to use the forces when you authorize him to be able to use the forces.
I have 800 books of just Samuel Beckett's work, tons of his correspondence, personal letters that he wrote. I have copies of plays he used when he directed, so all of his handwritten notes are in the corners of the page.
When you find a song that you love, you just have to do it - why would I try to match it? When I wrote more of the songs in the '90s - 'Nick of Time' and other songs I was surprised I came up with - it was because nobody else was saying what I wanted to say.
In my own defense, I wrote a one-man show, and that to me was more where I fit.
I'm always amazed by writers who say, 'Oh you know I had a half hour so I sat down and wrote a little bit.' I just need a real big chunk of time to sit down and focus. That's my process.
Every time there's a revolution, it comes from somebody reading a book about revolution. David Walker wrote a book and Nat Turner did his thing.
I was terrible at straight items. When I wrote obituaries, my mother said the only thing I ever got them to do was die in alphabetical order.
I wrote several articles criticizing psychoanalysis, but the analysts weren't listening to my objections. So I finally quit after practicing it for six years.
When I wrote 'The Girl on the Train,' nobody knew who I was, and that's quite a comfortable position to be writing in.
In the beginning, we had a great deal of freedom, and Jerry wrote completely out of his imagination - very, very freely. We even had no editorial supervision to speak of, because they were in such a rush to get the thing in before deadline. But later on we were restricted.
In high school, I was very active in extracurricular activities such as art, theatre, and choir. I also wrote for the school newspaper, but not regularly, because I never liked writing non-fiction very much.
You can find dozens of books about people taking the Trans-Siberian Railroad. I knew I had to do something different to cross Siberia. To drive and to talk with people along the way, that was how I wrote my book 'Great Plains'. I drove and camped in Siberia, but did not have a real program.
When my first child was born in 1962, I wrote a letter to my grandfather telling him how happy I was but how concerned; concerned because there were so many visions which were not very good.
I had an instinctive feeling that the people who have little or no school training should have something coming into their homes weekly which dealt with their problems in a simple, helpful way... so I wrote in a plain, common-sense way on the things that concerned our people.
I think I settled on the title before I ever wrote the book.
I have written a few children's books. The first book that I wrote was for children. It was called 'The Package', and it was a mystery story in pictures. It had no words.
I wrote my first play when I was nine. It was performed at Hampstead Theatre.
I always wrote - not about war, necessarily, but I always wrote stories. I tried to write while I was in Iraq. It's not really - I didn't do a very good job, and not about war.
In that long sequence, when Lawrence enters in the desert to rescue a lost man, Lean listened the music I wrote and wanted to extend the scene to let my work stay completely.
Probably the biggest influence on my career was the late John Hersey, who, while he was at 'The New Yorker,' wrote one of the masterpieces of narrative non-fiction, 'Hiroshima.' Hersey was a teacher of mine at Yale, and a friend. He got me to see the possibility of journalism not just as a business but as an art form.
I wrote... Neon Ballroom in that time where I hated music, really everything about it, I hated it.
I was planning to stay in the Army all my life, but I ended up being posted to a training camp in Wales and was so bored there, I wrote a novel.
When I was 22 years old, I thought girls would like me if I wrote a novel. I spent so much time writing that I was thrown out of graduate school.
Around 1967 Dan Bobrow wrote a program to do algebra problems based on symbols rather than numbers.
Whites were the winners, blacks were the losers, we wrote the history books, and they didn't feature.
I probably wrote three-quarters of the songs without an instrument in my hands.
I got to tell you, when I wrote 'Adios America,' I thought there was a 10 percent chance of saving the country.
In my 20s, life seemed endless. At 49, I've had a chance to see how dark life can be, and I am far more aware of the constraints of time than when I wrote 'The Kite Runner.' I realise there is only a limited number of things I can do.
One of the more depressing things about reading your fiction 25 years later, or 10 years later, is you realize the only things going on are things you made go on. Strange and interesting and new and wonderful things don't happen. It's the book you wrote; that's all.
Indeed, I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.
I wrote The Green Eye of the Little Yellow God in five hours, but I had it all planned out. It isn't poetry and it does not pretend to be, but it does what it sets out to do.
When I wrote 'Fast Food My Way' in 2004, I hoped that my friends would prepare my recipes. Now, more people cook from that book than any other I've written in the past 30 years.
