My first big break was with the Ted Fio Rito band. Fio Rito had a bunch of record hits in the 1930s and did a lot of radio work back then. When he came to my home town in early 1942, I sat in with the band. Ted liked me and offered me a job.
The idea that you live your life in phases - I've never bought that. I feel like I'm the same person who sat in at the draft board in 1965, I'm the same person who joined a fraternity, I'm the same person who got an MFA at Bennington, and I'm the same person who founded Weather Underground. My values are still intact.
I had the idea of a boy who was a wizard and didn't yet know what he was. I never sat down and wondered, "What shall I write about next?". It just came, fully formed.
I sat down at the piano and my hands began to browse over the keys. Thensomething happened. I felt as though I could reach out and touch God. I foundmyself playing a melody, one I'd never heard or played before, and words came intomy head - they just seemed to fall into place.
'Content' is a word that has never sat well with me. Like 'maturity'. They are two words I've never liked. I think they imply some sort of decay. A settling.
If you sat with a pencil and jotted down all the decisions you've taken in the past week, or, if you could, over your lifetime, you would realize that almost all of them have had asymmetric payoff, with one side carrying a larger consequence than the other. You decide principally based on fragility, not probability. Or to rephrase, You decide principally based on fragility, not so much on True/False.
My stepfather, John O'Hara, was the goodest man there was. He was not a man of many words, but of carefully chosen ones. He was the one parent who didn't try to fix me. One night I sat on his lap in his chair by the wood stove, sobbing. He just held me quietly and then asked only, "What does it feel like?" It was the first time I was prompted to articulate it. I thought about it, then said, "I feel homesick." That still feels like the most accurate description - I felt homesick, but I was home.
A lot of my words come to me when I'm out and about as well, riding the bus or sat in the pub. I went through a stage of going to a strip bar called the White Horse at lunch times and did a lot of writing in there. They were fine with that but I don't know how they would feel about me setting up the easel.
I think that people should find a niche that will work. I have friends growing up who sat around playing video games for hours after school, and now they work for the video game industry. People need to find a niche so it doesn't feel like a job anymore. When I'm working on the "Lights Out" brand, it's fun. It's not work.
I started writing when I was a journalist. But every time I sat down to write a novel or a story, I ended up writing about myself, which was incredibly annoying and self-involved.
When I auditioned to be part of the "This Is It" Tour, I didn't think I was going to get in. I didn't think it was for real at first, when I got the message on MySpace from the musical director to come in and audition for him. I came in and I played for the musical director, and that night Michael Jackson came in and sat down on the couch and I played "Beat It" for him. I just practiced as much as I could to make sure it was perfect.
I sat around the kitchen every Sunday afternoon listening to my mother and aunts talk about the people in the neighborhood. Gossip - I loved it. And that turns out to be the writer's job: to attend to the gossip and spread it as far as you can.
I sat next to Robert Duvall at the lawyers' table for six weeks, and it's still probably the best six weeks of my life.
I got called to write for Aerosmith, nothing ever came of it, but I ended up spending the day with Steven Tyler and going to his house and we sat down at the piano, just me and him, and he sang for me and played, then he asked me to sing for him, and then we sang harmony together. That was just a big moment where it was like 'oh my god, my life is crazy!' It was really cool.
We didn't have a television, so we sat around the table, and me and my sisters and my mom would do these jobs, like, a penny for a piece, you know, these paper jobs. You know, what really saved me as a human today is my sisters and my mom.
I began wanting to create a detective who really turned the tables on that image of women, to know that you could have a sex life and not be a bad person. You could have a sex life and still solve your own problems. It was eight years from when I started having the fantasy that I was going to create such a detective to when I actually sat down and came up with V. I. Warshawski. It was a long, slow journey to come to a writing voice and do that character.
I can remember, I think it was 1967, sitting in the First Unitarian Church in Isla Vista, Santa Barbara, and seeing Phil Levine come out on the little stage. He sat on the edge and said, "You know, sometimes it's hard not to hate my country for the way I feel, at times, but I won't let that happen." And then he read, "They Feed They Lion," this incredibly powerful, incantatory poem that was inspired in part by the burning of Detroit in 1967 and the riots that followed.
When I was getting close to being accepted for pilot training, I was allowed to get in a jet airplane. I sat there looking at all those switches and dials and I got the distinct feeling that I was sitting in the nose of bomb. I realized my fantasies of flying and fighting were just that - fantasies.
And the other thing for the sort of posher kids was a sort of lethal scooter, you know. One of the things that you just push along with your - really heavy, lethal, you know, trap your fingers in and every bit of metal got rusty very quickly. And the girls I seem to remember they had a thing like a broomstick with a horse's head on the top which they sat astride.
And out of the blue, I got a call from an editor friend at Knopf and she said that they were interested in putting out an update for their vintage paperback line. So I was more than thrilled and it was suggested that perhaps I could do a 1,000 word new introduction covering what's happened with the whole Warhol thing since 1990 when the first edition hardcover came out and, uh, that was about August 1st and I sat down at my computer here in East Hampton and on on August 30th I'd written almost 10,000 words!
I have a sign on my door. I look at it every single day of the week. The sign says, "Attitude is everything, so pick a good one." You need a very strong internal knowing. For instance, when I sat down to write the book The Power of Intention, I had a very strong internal knowing that I call thinking from the end.
On average, once a month for the last 10 years since her [Harper Lee] stroke, we have sat and talked and told stories and exchanged insults... Which she loves. I think one secret to our friendship was I did not treat her like a marble woman, and my wife - I joked with her, and I joked with her, and that was the sort of contours of our friendship.
I think for a long time, I was paralyzed by some of my hopes and ideals for what my life was going to be like. I had this perfect vision of how my life should go, but it seemed - it was - impossible to realize, so I sat around for a long, long time doing almost nothing at all.
It's a different rhythm than most movies. For a lot of the actors, you're 12,000 miles away from home. It becomes a way of life - getting up at five in the morning, shooting every day, day in day out, for 270 days. The new cast playing the dwarves were carrying incredibly heavy weights in their suits, they sat through hours of make-up every day. So it's quite challenging from a stamina point of view.
I've never had any kind of work ethic. I've never sat down with the intention of writing a song.
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