It's real easy for me to write a lot of stories. I just go and I live through something, and I go home and write about it. It's that quick.
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The way I write is, I listen to things in my head, and then I copy them down. I memorize conversations and things like that; I seem to be able to do that pretty well. I suppose in that respect there's some improvisation, although I work over the stuff after I've got it down on paper.
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Cleveland has a very bad reputation, but there's a lot of stuff that's left over from when there were very wealthy people - the Art Museum and a world class symphony that's still world class.
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I worry about getting work, and then when I get it, I worry about doing it well. I don't want to just go through the motions and give people stuff. This stuff is really important to me.
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It's extremely seldom that anybody wants me to change what I've written about them. Generally I portray them in a good light, if they're friends.
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A respectable-sized audience hasn't really been able to follow developments in jazz since the free jazz movement in the '60s. Some of them can't even get with John Coltrane. Audiences are diminishing more and more rapidly. Some of the top young musicians with something new to say can't get record companies to put out their stuff.
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People who are readers of fiction aren't particularly interested in comic books.
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Of course I don't think I have it made by any means. I'm too insecure, obsessive and paranoid for that.
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I like to go back over history and check out what people have written and whether I agree with it or not.