I am conscious of trying to stretch the boundaries of non-fiction writing. It's always surprised me how little attention many non-fiction writers pay to the formal aspects of their work.
People who work on the user interface side need to have empathy as a key characteristic. But if you are writing device drivers you don't really need to understand humans so well.
I would advise any beginning writer to write the first drafts as if no one else will ever read them - without a thought about publication - and only in the last draft to consider how the work will look from the outside.
My work as a screenwriter has influenced my fiction. Writing screenplays forces you to consider many elements regarding story structure and other narrative devices that can be used to enhance the infinitely more complex demands of a novel.
I've been known to write on the Underground in London and on the subway in New York. I have two or three cafes in Paris that I go into. I find a corner with a little shade, and I can work.
I've come to see that these politicians that release books - no way are they actually writing those books. Not when they are working fulltime, too. There's no way. That's their name on the book, but it's not their work. I'm sure of that. There's no w...
I normally work like a vampire. Around 8 to 9 P.M., what I call 'the spirits' actually show up, and then I just go in the booth and scream on top of a track. I only sing on the mic. I don't sit down and write anything.
I consider criticism merely a preliminary excitement, a statement of things a writer has to clear up in his own head sometime or other, probably antecedent to writing; of no value unless it come to fruit in the created work later.
It may take hundreds of pages before you begin to get a handle on the craft of writing, and your first scripts may not work. The next five to twenty may not either. However, the ones that do work owe everything to the ones that didn't.
Whenever I write a novel, I have a strong sense that I am doing something I was unable to do before. With each new work, I move up a step and discover something new inside me.
I am not conscious of working especially hard, or of 'working' at all. Writing and teaching have always been, for me, so richly rewarding that I don't think of them as work in the usual sense of the word.
When you're on tour, you're trying to get the crowd involved and really sing and perform to them. When you're going to write and be in the studio, it's like, 'Now I have to think about me.' That's the mind-set you have to work with.
While I was writing 'Stick Out Your Tongue' in Beijing, the police began knocking on my door again. As soon as I finished the book, I moved to Hong Kong so that I could work undisturbed on my next novel.
Writers collect stories of rituals: John Cheever putting on a jacket and tie to go down to the basement, where he kept a desk near the boiler room. Keats buttoning up his clean white shirt to write in, after work.
To be a writer was always my greatest aim. I remember writing a play about Guy Fawkes when I was 10. I suppose it's significant, at least to me, that my first work should be about a historical figure.
But I work harder now because I have so much more exposure. And actually the harder you work as a writer, the better you get at it. It's like anything else. It's a muscle you have to exercise. I write more now than ever.
In New York and L.A., there is sort of that silent competition to be on the cutting edge of something. You end up having a conversation with how the world receives your work, especially if you are writing narrative, not fiction. Sometimes it is an aw...
I don't like re-writing very much. The fourth and the fifth draft - that's too much like work. There's not much inspiration about it, and the lawyerly side kicks in - being very careful and somewhat technical.
Deleting 200 spams a day is a drag. And I was checking my email constantly, rather than getting on with my real work, which is reading and writing. Email was becoming a distraction, a burden rather than a liberation.
A lot of the websites built through the 1990s used Perl. The first webmaster of Sun Microsystems coined a wonderful phrase. He said Perl is the duck tape of the Internet - it's this language that people would write all these scripts that make things ...
Singing didn't really come naturally to me, I don't think. I had to really work at it. I just kept singing. I never was really worried about it, though, because I was writing songs, and that was the most important thing to me.
