How I work is that I write a story I'd like to read. Then you fly to Paris or Sydney and the interviewers talk about the greater significance of your work.
I think the only boundaries are individual and personal. A writer should be free to write about anything he or she wants to, including the twin towers. I have made small references to 9/11 in my past two books.
It's only a wonderful world if you can make it that way. There are no street signs pointing to Paradise Road.
The setting sun burned the sky pink and orange in the same bright hues as surfers' bathing suits. It was beautiful deception, Bosch thought, as he drove north on the Hollywood Freeway to home. Sunsets did that here. Made you forget it was the smog that made their colors so brilliant, that behind every pretty picture there could be an ugly story.
There is nothing you can do about the past except keep it there.
I went into journalism to learn the craft of writing and to get close to the world I wanted to write about - police and criminals, the criminal justice system.
I don't miss being a reporter as a job, but I do miss the everyday interaction with the front line of law enforcement. I still have a cadre of cops who keep me up to date, but I don't have the access I used to.
You can't patch a wounded soul with a Band-Aid.
I think books with weak or translucent plots can survive if the character being drawn along the path is rich, interesting and multi-faceted. The opposite is not true.
There is no client as scary as an innocent man.
Last Update: 25 October 2021
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