A Quote by Erik Larson

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 started writing because I wanted to write scripts, but I wasn't very good at it. Then I started writing short stories, sort of as treatments for the film scripts, and I found I enjoyed writing short stories far more than I enjoyed writing film scripts. Then the short stories got longer and longer and suddenly, I had novels.
The reason we have not gone to newspapers is because its a slow growth industry and I think they are dying. I'm not sure there will be newspapers in 10 years. I read newspapers every day. I even read Murdoch's Wall Street Journal.
Working on newspapers, you're writing to a certain length, often very brief pieces; you tend to look for easy forms of humor - women can't drive, things like that. That's about the level of a lot of newspaper humor. It becomes a form of laziness.
I write from seven to about noon. I used to try to write longer, but I read and I found that I was always getting myself tired by working in the afternoon and then I was just throwing out what I wrote in the afternoon, so writing then was counterproductive.
life becomes satire in real time, what good is the premiere satire magazine? It might as well just be the newspaper. You could pick up The Wall Street Journal and be like, "Oh, what a funny Onion headline!" And then the editor of The Onion is like, "Huh. I guess you won't be needing me anymore."
I wrote an article about the marine landing [in Haiti] right away, but barely mentioned the oil, because my article would come out two months later and I assumed by then, "of course, everybody knows." Nobody knew. There was a news report in the Wall Street Journal, in the petroleum journals, and in some small newspapers, but not in the mainstream press.
I started freelancing, writing op-eds and book reviews, one at a time. I then got the opportunity to write recurring freelance pieces for 'The Nation' magazine, focusing on how the Internet was changing politics.
I wrote the first draft of the New People quickly but it had been percolating a lot longer. It's a hard question to answer because I'd been working on another novel for years and when I gave up on that, this one came very easily. But I think the work had been going on a lot longer than the actual writing.
The only joy I had was writing what was. That book was. It no longer amuses me to be all the things I was when I wrote that. But it is my story as I was then.
I had this career and then I was working and then I met Rob and then I kind of went off and got married and had kids, and in that process, which was amazing and fantastic, I lost my confidence as an actress and as a working woman.
I started at the 'Wall Street Journal Report' as a production assistant typing chyrons and rolling the teleprompter, and then I became a producer, producing stories in the field, then the show's line producer.
I had a very hard-working father and a very hard-working mother. My dad was someone that would get up at 5 in the morning and work 'til 4 in the afternoon and then had a hobby he made money with. After he'd get home, he'd have a meal and have a drink and then flow right into that, trying to provide.
I got that experience through dating dozens of men for six years after college, getting an entry level magazine job at 21, working in the fiction department at Good Housekeeping and then working as a fashion editor there as well as writing many articles for the magazine.
I don't know that I make a big distinction between the big pieces and the little pieces, because I don't experience them in that way. I mean, by the same token, you're out touring with a band and then you're writing string quartets, and in a funny way, isn't it all the same, in a way? It's all just music.
I read everything I could find in English - Twain, Henry James, Hemingway, really everything. And then after a while I started writing shorter pieces in English, and one of them got published in a literary magazine and that's how it got started. After that, graduate school didn't seem very important.
It all depends on what I'm working on and if there is a deadline involved. Anything that's headed toward a magazine or newspaper is hacked out on the computer; that's a matter of efficiency. I write longer pieces of prose on a typewriter because the act of retyping it for the computer is a useful tactic for revision. Poems tend to be written longhand.
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