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.
It's true that I have very little idea what I shall be writing next, but at the same time I have a powerful premonition of everything that lies ahead of me, even ten years ahead.
I called the doctor, during writing the book, the psychiatrist who treated me at that time, Dr. Jackson. And I said, Dr. Jackson, whole pieces are missing. I don't understand what happened to me.
And I used to write novels and little stories and compositions and I - but I put them away because I started acting when I was 17. So there wasn't much time.
I don't see how you can write well if you're not reading well at the same time. I think the only risk is reading too many books of one 'type' in a row.
I keep one simple rule that I only move in one direction - I write the book straight through from beginning to end. By following time's arrow, I keep myself sane.
The problem with writing a monthly book is that you're going through your work like a man running for a bus, red-faced and out of breath. There isn't time for reflection or critical self-examination.
I'm a passionate believer in revision, and a lot of my writing gets done during revision process. It isn't just tweaking: I tend to break it apart and remake it every time I do a new draft.
I've been asked to write an autobiography, and I've started it a couple of times, on different angles, and maybe one day I will, but you know what? There's time for that because I'd like to have the whole story.
I had a problem with cops pulling me over all the time for speeding. When I was doing Hill Street Blues, the cops said how much they loved the show as they were writing me up; meanwhile my insurance went through the roof.
My highest point was the first thing I won, a short story competition in a women's magazine in the Eighties. It was the first time I'd had my writing validated, and the first thing I'd ever shown anyone else.
There's a practical problem about time and energy, and a more subtle problem of what it does to a writer's head, to continually analyze why they write, where it all comes from, where it's going to.
I always had to wait until something hit me, and I could write it. But when I would cut an album, to me it represented the time that I spent since the last one. Just the way I was looking at the world.
I began writing 'Matterhorn' in 1975 and for more than 30 years I kept working on my novel in my spare time, unable to get an agent or publisher to even read the manuscript.
I actually had a week where I literally wrote four songs and all of them are on my album. But sometimes you'll go a week where you'll write songs and they never see the light of day. So that process takes a long time.
I try not to worry about rewriting books that worked well the first time. I'm too busy writing new books to worry about things that are already in print.
Normally I begin writing a song with just with aim to express something, and sometimes I don't know what I want to express until a sentence comes to my head that will sum up everything about how I'm feeling at the time.
I've been writing about growing old for some time, really from the beginning of my career. It's something I'm apparently hung up about and now that I am old, hopefully I speak about it with some authority.
Black people were very angry with me for writing the book. A lot of people didn't believe me, or didn't want to believe me, and that used to really bother me. It was a very painful and difficult time.
First thing, I throw on some jeans, a T-shirt and my Keds sneakers and make coffee. That is actually my favorite time of day. That is when I do my songwriting, when I am in writing mode.
The biggest influence on my books was the fact that I had worked in a newspaper for so long. In a daily paper, you learn to write very quickly; there is no time to sit and brood about what you are going to say.
