A Quote by Christopher Buckley
I want Tom Clancy, the Maryland novelist, to write the story of the rest of my life.
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Before, it was always, 'Oh, no, here comes Clancy, that insurance agent.' Now it's, 'Oh, here comes Tom Clancy, bestselling author.' But I'm still the same basic middle-class slob.
If Tom Clancy didn't write any Op-Centers, he would be $60 million less rich.
If I could write a story that would do for the Indian one-hundredth part what 'Uncle Tom's Cabin' did for the Negro, I would be thankful the rest of my life.
A stunner…reminds me of Tom Clancy at his finest.
If the question is, 'Do I wish I made thirty million dollars a year,' the answer is, 'You bet.' If the question is, 'Do I wish I could write like Tom Clancy,' the answer must remain, 'No.'
She can take a year to read something, whereas I like a book that becomes more important in my life that life itself. When I was in the middle of 'Red Storm Rising' by Tom Clancy - which was not selected for the Man Booker shortlist - you could have taken my liver out and fed it to the dog. And I wouldn't have noticed.
I can't write story-songs, like I couldn't write a Bob Dylan or Tom Waits song. I can only write whatever weird phrases come into my head, and hope that they're good.
I'm never going to be a Tom Clancy. And I wouldn't really want to be - not that I have anything against him, and I wish him continued success - because that's not why I'm writing novels. I'm doing it because I have to. I feel like I have to, anyway.
I can't write my life story without Emmitt and Troy. They can't write their life stories without me. We're tied together forever. This is a day to remember for the rest of our lives.
The best advice is not to write what you know, it's to write what you like. Write the kind of story you like best - write the story you want to read. The same principle applies to your life and your career.
Getting trade policy right is huge for our economy and huge for Maryland. This is about creating Maryland jobs by selling Maryland products to Asia, moving right from Western Maryland farms out through the Port of Baltimore.
If it's commercial fiction that you want to write, it's story, story, story. You've got to get a story where if you tell it to somebody in a paragraph, they'll go, "Tell me more." And then when you start to write it, they continue to want to read more. And if you don't, it won't work.
Writing has nothing to do with publishing. Nothing. People get totally confused about that. You write because you have to - you write because you can't not write. The rest is show-business. I can't state that too strongly. Just write - worry about the rest of it later, if you worry at all. What matters is what happens to you while you're writing the story, the poem, the play. The rest is show-business.
Jazz, to me, is one of the inherent expressions of Negro life in America: the eternal tom-tom beating in the Negro soul - the tom-tom of revolt against weariness in a white world, a world of subway trains, and work, work, work; the tom-tom of joy and laughter, and pain swallowed in a smile.
I studied the short story as part of my creative writing course at university but then set off as a novelist. Generally, there is a sense that even if you want to write short stories, you need to do a novel first.
Tom’s aunt Georgie spoke to me first, and Tom found me through her. At the time, I didn’t actually think Tom was a big enough character to carry a story. If it had to be anyone from Saving Francesca, I thought, it would be Will Trombal or Tara. But the line in Francesca, ‘I want to be the first male in the Mackee family to reach 40 and still have a liver’ stuck with me, and in the end, Tom has been one of the biggest surprises. I’m glad I didn’t kick him out of my head.
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