Why did I become a writer? Because I grew up in New York City, and there were seven newspapers in New York City, and my family was an inveterate reader of newspapers and I loved holding a paper in my hand. It was something sacred.
I do seem to have a lot of family secrets in my novels. I guess I'm one of those writers who is often writing about the same sort of themes, but taking different angles on them.
I was raised in a large family. The first reason for my travel was to get away from my family. I knew that I wanted to be a writer, but I didn't want people to ask me questions about it.
I was a writer for 'New York' magazine. I had been to business school, but what did I know? Still, everybody from the receptionists on up to the editor would ask me what they should do with their money.
I think young writers should get other degrees first, social sciences, arts degrees or even business degrees. What you learn is research skills, a necessity because a lot of writing is about trying to find information.
Led by a new generation of edgy sportswriters like Lipsyte, we found new purpose in the great issues of the day - race, equal opportunity, drugs, and labor disputes. We became personality journalists, medical writers, and business reporters.
I wanted to be a writer, to write these stories that would make people see the world in a different way. But I ended up going to business school because I thought I could ultimately get to where I wanted to go faster that way.
Acting can be a difficult business. When I was younger, if my mates were doing better than me, I might be a little bit envious, but as I have got older, I love to see actors cracking on and succeeding. The same goes for writers.
Presenting the Oscars was the most nerve-racking job I have ever done in show business. It's very much a live show: they have comedy writers waiting in the wings, and as you come off between presentations, they hand you an appropriate gag to tell.
On a more practical level, anyone out there who wants to be a writer should clearly recognize that this is a brutal business, where even incredibly talented people sometimes never make a living. If you want to chase such a dream, please have a Plan B...
I'm a binge writer. I work in the music business fulltime, in artist management and developing songwriters and recording artists, and so juggling my job I carve out as much time as I can on the weekends.
One of the nice things about the world of filmmaking is that you make friends in the business. Sometimes directors feel a script needs something, but they're not sure what it is, so they show it to a friend; if the friend is a writer, he ends up kick...
I think there's a growing courage among the younger generation of American writers. Because of the more superficial treatment of characters taking place in cinema, they have had to deal with that by digging deeper into who these people are.
So when I got the chance to do my first talk show, 50 years ago last month, I never had any writers. There was no budget - it was just me and the camera and my friend who was the director. I talked about what I'd done that week.
I'm usually really drawn to a song, and I know it would be good to cover if it sounds like something that I could write, or I wished I could write. Sometimes a writer just sounds like they're in your head, and that is really cool for me.
Writers generally get into writing because they want to write, not because they want to be independent publishers, and you can't really fault someone for saying, 'What I'm doing right now works, so there's no reason to change it.'
A lot of my writer friends live near me, and that makes people think we just hang around with one another in cafes, trading work and discussing 'Harper's' and what not. But I rarely see them. We're home working.
Home base is the support system where we have a culinary team, my own writers because of the shows and the books and stuff, we have a culinary team of about six people. Marketing, public relations, accounting and all that sort of stuff.
Bob Hope was totally regimented. I go in and say a line like, 'Hi Bob' and I'd have to do it five times, and then Bob would take me to the writers to say the line different ways. He wouldn't let me ad-lib.
When I went in, my editor said, 'I hope you don't think you're a writer.' And I said, 'I hope you don't think I'm a journalist.' And, uh, turned out we were both right.
I have experienced healing through other writers' poetry, but there's no way I can sit down to write in the hope a poem will have healing potential. If I do, I'll write a bad poem.
