I wrote a novel about an economic/environmental collapse titled 'Soft Apocalypse,' and that's definitely the sort I'm best prepared for. To write the novel, I did a lot of reading on what we might expect, so at the first sign, I'm ready to convert all of my assets to gold and ammo and stock up on freeze-dried food.
I wrote four novels under the name Amy Silver. The first one was commissioned, and I was given basically the whole plot and the characters. They told me what to do, and I went straight away and did it. After that, I continued, and I was coming up with more my own ideas, although they did steer me.
I always tell the story of 'Irreplaceable.' I initially wrote 'Irreplaceable' with myself in mind, with plans of it being my record. I love that record; however, what I realised about that record was that though given the circumstances of that situation - men and women are not that different - when you sing about it, it changes things, you know?
'Miss Saigon' taught me what it means to help carry a big show, and it had some of the most gorgeous songs wrote.
'Sit Here and Cry' was one of the first songs I wrote with that overdramatic sarcastic dry sense of humor, which is why the energy of the song doesn't necessarily reflect the subject matter.
Some readers may be disturbed that I wrote 'The Secret Life of Emily Dickinson' in Emily's own voice. I wasn't trying to steal her thunder or her music. I simply wanted to imagine my way into the head and heart of Emily Dickinson.
My first novel - the novel I wrote before 'Midnight's Children' - feels, to me, now, very - I mean, I get embarrassed when I see people reading it. You know, there are some people who, bizarrely, like it. Which I'm, you know, I'm happy for.
The problem was the journalists who also did not understand much of my music, but they wrote about it. I think you fell into the usual trap laid out by parts of the press and other writers: that the poor musician has always to fight the evil companies and managers.
I would remake 'Club Paradise.' I thought the story was cool, the setting was great. Everything lined up, except I wrote it for Bill Murray and John Cleese.
Becoming a YA author was actually a very lucky accident. When I wrote the 'Queen of Everything,' I thought it was a book for adults.
I wrote an ITV drama in the 1960s, a satire on management theory that starred Leonard Rossiter. I'm also a poet and have had work in the 'Spectator.'
I wrote that President Bush is passing on to President-elect Obama two wars and an economic debacle. I call it a depression. And he is arming Israel against the Palestinians in every way in Gaza.
I was extraordinarily lucky. I wrote a book because I wanted to see if I could write a mystery. Someone nagged me into sending it to a contest, which it won, after which I was offered a two-book contract, thus requiring the writing of a second book.
I did an internship with Dove when they were doing the 'real beauty' campaign, and I was really inspired by that. Growing up in L.A., being a young woman, and seeing how the media tells young women to be everything you're not, I kind of wrote about that experience.
When I wrote 'We Were The Mulvaneys,' I was just old enough to look back upon my own family life and the lies of certain individuals close to me, with the detachment of time. I wanted to tell the truth about secrets: How much pain they give, yet how much relief, even happiness we may feel when at last the motive for secrecy has passed.
When I realized I wanted to do more writing and less traveling around the world teaching live seminars, I decided to write the first 'Chicken Soup for the Soul(R)' book. I knew I wanted to have 100 stories in the book, so I wrote or edited two stories a week for a year.
I'm so absolutely pro-Denver. I wrote a fake hip-hop song about Denver. I've been claiming Denver. Part of the joke of the song is nobody was really claiming Denver - no rappers, no comedians.
When I wrote 'The Good Body,' I turned 40 and suddenly had this stomach. It seemed like the end of the world. Because I didn't value my body. I was constantly judging it, but I also didn't live in it.
Believe it or not, there are some things that I have written that would be kind of a dream to make. Hopefully, I will get to finance them... There is something that I wrote called 'Demon's Flare' which would kind of be a dream come true.
I wanted to be a classical actress. I plodded along. I went to junior college in San Francisco, I was in a Repertory Company. My hero was Eva Le Gallienne, who was a great theater actress at the turn of the century who created her own company, and she wrote these hilarious autobiographies at the time.
I wrote one terrible manuscript after another for a decade and I guess they gradually got a little less terrible. But there were many, many unpublished short stories, abandoned screenplays and novels... a Library of Congress worth of awful literature.
I don't like to have a calm, orderly, quiet place to work. I often compose while driving, compose in my head. It is true that I wrote my little book, 'The Sounds of Poetry, A Brief Guide,' almost entirely in airplanes and airport departure lounges.
In '98, I locked myself in my house, went out of my mind and wrote 25 songs. I rarely bathed during that period of writing, I sent out for food, I didn't really venture out of my house in three or four months. It was a hell of an experience.
One of the first papers I wrote at the University of Wisconsin, in 1977, was on stem cells. I realized that if I changed the environment that these cells were in, I could turn the cells into bone, and if I changed the environment a bit more, they would form fat cells.
I started in the psychological thriller side of feature filmmaking with 'Spiral,' which was the first one that I wrote and directed and played the lead in.
I had a nice part at big newspapers, small newspapers, and then I went to a very big newspaper - 'The Wall Street Journal.' I wrote longer pieces, and I got tired of working so hard on stories that had a shelf life of essentially one day. So then I started working on longer magazine pieces and realized then that you might as well be writing a book.
When I wrote about the French Revolution, I didn't choose to write about aristocrats; I chose characters who began their lives in provincial obscurity.
I wrote all four of my books at Starbucks.
A lot of my friends who I wrote or produced songs for came back and helped me make 'Pages.' It's better than I ever could have imagined.
I didn't intend 'Hector' to be a self-help book when I first started writing. I wrote it as a little tale about a psychiatrist, like me, who sets off around the world in order to discover the vital ingredients for happiness.
I was 19 when I wrote 'Dreams,' and that would have been when it started to happen. The band got signed, and I was probably beginning to see different things besides my small town of Ballybricken.
The fact that people are actually shaving their eyebrows is very flattering. But it's crazy that people are singing songs I wrote in my bedroom.
'Spring Day' - I wrote main lyrics based on my personal experience with old friends. It is about my sad memories with him, and it makes me sentimental whenever I listen to the song.
My father's father wrote for a Philadelphia newspaper and aspired to be a playwright. We had in our house a couple of crazy unproduced plays that he had written. For the one creative writing class I took in my life, I didn't do any writing - I decided that I would plagiarize his terrible play to not fail the class.
All my editors since Malcolm Cowley have had instructions to leave my prose exactly as I wrote it. In the days of Malcolm Cowley, with 'On the Road' and 'The Dharma Bums', I had no power to stand by my style for better or for worse.
If I can do something in less than one minute, I don't let myself procrastinate. I hang up my coat, put newspapers in the recycling, scan and toss a letter. Ever since I wrote about this rule in 'The Happiness Project,' I've been amazed by how many people have told me that it has made a huge difference in their lives.
