Top 129 Quotes & Sayings by Erik Larson - Page 2

A writer could spend years reading already-published books just to gain a grasp of the historical terrain.

I find diplomatic histories the dullest of histories.

I read a book called 'Transatlantic', which is a history of the great shipping lines. Also, of course, I had read about the Titanic and saw Leo drowning at the end of the 'Titanic' movie and all that stuff.

As a writer, you always try to imagine, 'What if I were in a situation like this? How would I react?'

It was a civilian ship, and the Lusitania could outrun any submarine. So this population of people was very confident that Cunard and the Royal Navy would be looking after them. Why weren't they under convoy? That's the real question.

I had a nice part at big newspapers, small newspapers, and then I went to a very big newspaper - 'The Wall Street Journal.' I wrote longer pieces, and I got tired of working so hard on stories that had a shelf life of essentially one day. So then I started working on longer magazine pieces and realized then that you might as well be writing a book.

I write to be read. I'm quite direct about that. I'm not writing to thrill colleagues or to impress the professors at the University of Iowa; that's not my goal.

The thing I always tell my writing students - I'm not a full-time instructor, by any means, but periodically I've taught writing students - what I always tell them is that the most important thing in narrative nonfiction is that you not only have to have all the research; you have to have about 100% more than you need.

I envy other writers who claim to have a backlog of books they'd like to write.

The telephone call that forever changed the lives of the Dodd family of Chicago came at noon on Thursday, June 8, 1933, as William E. Dodd sat at his desk at the University of Chicago.

As my friends will tell you, I am a superior agonizer. Believe me, you do not want me in the cockpit of an airliner. But in my defense, choosing an idea is also a high-stakes affair.

I figured I was going to apply to one journalism school and let fate take a hand.

My office is tiny. I think most people would be shocked if they came to my home and saw it. It is, in fact, the former makeup room of a gorgeous local TV newscaster. I keep a neat desk. Clutter makes me anxious.

My goal is to produce as rich and historical an experience for the reader as I possibly can, to the point where when somebody finishes reading the book, he or she emerges from it with a sense of having lived in the past.

I was once again looking for a book idea, and I remembered Holmes, but I specifically remembered that there was this World's Fair thing in the background. I thought, 'I'll read about the fair.' I had nothing better to do. I'd dismissed about a dozen ideas, and I was getting sort of antsy. I started reading, and that's where I got hooked.

A very important part of my workday are the two Nunzillas on my windowsill. They keep me constant company. They're little windup toys, and when they move across the desk, they spark from the mouth. I think of them as my editors. They sort of remind you that the world can be a silly place.

I'm often associated with parallel narratives or dual narratives. The 'Devil in the White City' was a fluke.

One of the things I've always loved is collecting telling little details.

My life! That's a long story, too. I was born in Brooklyn, New York, like half of the world, I think.

I have found from experience that it is often interesting and useful to start from the edges and work inward - another flaw of mine. I seldom approach things directly. I would have made a great moth.

It's not my intent to write definitive history. 'Dead Wake' isn't a definitive history of the sinking of the Lusitania. It's my account.

When I'm considering an idea, and there is an element of hubris involved, I generally feel comfortable that it's going to be a good story. Pride goeth before a fall. It's an element of a lot of big stories.

I'm an early riser, for one thing. This started back when our kids were small. My wife and I would get up at 4 A.M. so that we could have a couple of peaceful hours before they woke up. That pattern has continued. I get up, make coffee, and while it's brewing, I do 50 sit-ups.

I was in Bucks County at the 'Bucks County Currier Times,' which is a great place to start for any reporter who wants to start out.

In 1900, 45 steamship lines served Galveston. Twenty-six foreign governments had consulates there. The storm damaged its reputation as a safe place for substantial investment by railroads then seeking to dominate various trans-continental routes.

I've met many Holocaust survivors who find the era infinitely compelling because they have this deep hunger to understand how it all could possibly have happened.

When I'm in New York, I have, like probably everybody else in Manhattan, a white-noise generator to use at night: a Marpac Dual-Speed Dohm-DS. It is terrific. I've never slept better in the city.

The writer marks the changes he wants to make, while a proofreader also goes through the galley, checking it page-by-page against the manuscript. Once all these changes are identified, a second-pass proof is made, and this, too, gets sent to the author and the proofreader, and the process begins anew.

The reason I choose the stories I choose - and it's why it takes me so long to find ideas - is that I'm looking for that very thing. I want an idea that begins, I want a middle that is compelling and will bring readers along, and I definitely want an ending.

I think, one day, I might actually try writing a bunch of - a collection of essays maybe on the funnier side of the spectrum. I don't know. But it's fun to have, frankly, Twitter as kind of an outlet. When you're writing about dark things all day, it's kind of fun to have fun.

I'm open to writing just about anything. I love writing the books that I write. They do tend to be on dark subjects, but I don't think of myself necessarily as a dark-humored person. I like having a lot of fun.

I knew Berlin would have to become a kind of character in my new book, 'In the Garden of Beasts'. I had felt likewise about Chicago when I wrote 'The Devil in the White City' and Galveston with 'Isaac's Storm'.

At first glance, the story of the Lusitania doesn't seem like the sort of thing I would take on. I usually like ideas that are a little bit more complex, things that people don't know about - or maybe they once did, but now you bring it to life for them for the first time.

The Nazis hijacked the Jewish thing early on by defining it as 'the Jewish problem' and started looking for a solution. These are not just words.

Since I loathe the tedium of gym workouts, I take breaks for tennis with my eclectic group of tennis pals.

Room 40 knew a U-boat was heading south to Liverpool - knew the boat's history; knew that it was now somewhere in the North Atlantic under orders to sink troop transports and any other British vessel it encountered; and knew as well that the submarine was armed with enough shells and torpedoes to sink a dozen ships.

I don't really have a bucket list, but if I did, one entry would be to dust off my college Russian and spend a big chunk of a year reading, or trying to read, 'War and Peace' as it was meant to be read, in Russian, with all that rumbly rocks-on-rocks poetry inherent to the language.

In hunting ideas for books, I look for stories about long-past events that once commanded the world's attention but that, for one reason or another, faded from contemporary awareness.

If I'd been living in Berlin in 1933-34, could I possibly have foreseen the Holocaust and all the corollary horrors of World War II? And if I had, would I have done anything about it? I also started to wonder: how does a culture slip its moorings?

What is clear is that in 1900, Galveston was growing fast, had already become the number one cotton port on the Gulf Coast, and was already being referred to as 'the New York of the Gulf.'

At some point, I stumbled across my two main protagonists: William E. Dodd, a mild-mannered professor of history picked by Roosevelt to be America's first ambassador to Nazi Germany, and Dodd's comely and rather wild daughter, Martha, who at first was enthralled with the so-called Nazi revolution.

The toilet from time to time imparted to the boat the scent of a cholera hospital and could be flushed only when the U-boat was on the surface or at shallow depths, lest the undersea pressure blow material back into the vessel.

After I finish writing a chapter, I'll print it out, cut it up into paragraphs, and cut away any transition sentences. Then I shuffle all the paragraphs and lay them out as they come. As I arrange and hold them next to each other, very quickly a natural structure for the chapter presents itself.

At some point in the idea process, I simply wear myself down and force myself to choose. But here's the thing: Once I do choose, suddenly all the other possibilities wither and die, and thus I never have a backlog of well-formed ideas waiting for me when my latest book gets finished.

I wouldn't say that I'm an Italian wine connoisseur. I do like red wine. I guess my favorites now are Bordeauxes. French.

The one place where I do think our culture today has to be extremely careful is this whole thing about illegal aliens. Because any time you start defining a significant block of the population as 'others,' or as less than you, you start getting into dangerous waters.

Every time I sit down to reread 'War and Peace' - I've read it three times - I feel as though I've lived another life.

With my research, I really need absolute confirmation of what actually happened, direct physical connections to the past.

Anytime you look at someone in detail, you're putting the camera on that person. What I typically look for is one or two or three really strong characters who will hold the narrative throughout the work.

The most painstaking phase comes when the manuscript is set in 'type' for the first time and the first proofs of the book are printed. These initial copies are called first-pass proofs or galleys.

I was born with the devil in me,' [Holmes] wrote. 'I could not help the fact that I was a murderer, no more than the poet can help the inspiration to sing.

Beneath the stars the lake lay dark and sombre," Stead wrote, "but on its shores gleamed and glowed in golden radiance the ivory city, beautiful as a poet's dream, silent as a city of the dead.

Time lost can never be recovered...and this should be written in flaming letters everywhere.

His weakness was his belief that evil had boundaries.

Great murderers, like great men in other walks of activity, have blue eyes.

To me, writing is a very physical process. I lay out the entire book with the two narratives side by side on my bedroom floor, and just get down on my hands and knees and start looking at it in that physical space. "Does this really follow from this? Should this be here or elsewhere?" I will literally cut the paper into paragraphs. I'll cut it into segments and move the segments around from one narrative to the other until I feel that I've found the natural structure.

Beneath the gore and smoke and loam, this book is about the evanescence of life, and why some men choose to fill their brief allotment of time engaging the impossible, others in the manufacture of sorrow. In the end it is a story of the ineluctable conflict between good and evil, daylight and darkness, the White City and the Black.

Chicago has disappointed her enemies and astonished the world

I must confess a shameful secret: I love Chicago best in the cold.

It was so easy to disappear, so easy to deny knowledge, so very easy in the smoke and din to mask that something dark had taken root. This was Chicago, on the eve of the greatest fair in history.