A Quote by Jed Mercurio
The things I discovered when writing 'Line of Duty' were the tools you have available to write a thriller.
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'Line Of Duty' is first and foremost a thriller. But I hope it will also be seen as a revisionist commentary on 21st century policing.
When you are in the line of your duty, it is like standing in front of a line of posts, and every post is in line. But step one step aside, and every post looks as though it were not quite in line. The farther you get away from that straight line, the more crooked the posts will appear. It is the straight and narrow path of duty that will lead you and me back to the presence of God.
Kant does not think there is anything wrong with being beneficent from sympathy. He thinks we have a duty to cultivate sympathetic feelings by participating in the situations of others and acquiring an understanding of them. He thinks we also have a duty to make ourselves into the kind of person for whom the recognition that something is our duty would be a sufficient incentive to do it (if no other incentives were available to us). That's what he means by "the duty to act from the motive of duty".
City of Los Angeles is my home, and it is my duty to lead by example, contribute all that I can, and help make the world a better place with the tools and resources available to me.
I'm not aware of a cadence when writing, but I hear it after. I write in longhand, and that helps. You're closer to it, and you have to cross things out. You put a line through it, but it's still there. You might need it. When you erase a line on a computer, it's gone forever.
When I first started writing 'Still Missing,' I didn't actually realize I was writing a thriller. I thought it was more women's fiction, but during the many years of rewrites, I kept taking out the boring parts, and then my agent informed me that I had written a thriller.
Well, if you're writing a thriller, you have to have your character in mortal jeopardy on page 1 or it's not a thriller.
Either I did away with that fear through writing, or in the course of writing, I discovered it was no longer so intrusive or threating. The bottom line is, it's gone.
The secret to writing is just to write. Write every day. Never stop writing. Write on every surface you see; write on people on the street. When the cops come to arrest you, write on the cops. Write on the police car. Write on the judge. I'm in jail forever now, and the prison cell walls are completely covered with my writing, and I keep writing on the writing I wrote. That's my method.
In my contemporary stories, I write about today's quilters, inventive techniques they use, and how technology has influenced their art. Novels set in the past let me have fun researching patterns that were popular and fabrics and tools available to quilters through history.
Anybody who sits down to write, and they think 'thriller,' maybe shouldn't be thinking that way. Maybe we should be thinking 'novel,' maybe 'thriller' way in the background, but that these are real people to whom things are happening. It just happens to be a hell of an exciting story.
I think from a major-label perspective, if you were on the flip side of things and that's the world you were used to working in, your interpretation could be, "Oh, they're having trouble writing songs," when really it's like, "No, I'm not ready to write songs, I don't want to write a song right now, if I did write a song, it would be forced."
I tried to write a TV series, and then I discovered first of all that I love writing more than anything on this earth, and that you could write exactly as well as you want to.
In high school, in 1956, at the age of sixteen, we were not taught "creative writing." We were taught literature and grammar. So no one ever told me I couldn't write both prose and poetry, and I started out writing all the things I still write: poetry, prose fiction - which took me longer to get published - and non-fiction prose.
One of the things when you write, well the way I write, is that you are writing your scenario and there are different roads that become available that the characters could go down. Screenwriters will have a habit of putting road blocks up against some of those roads because basically they can't afford to have their characters go down there because they think they are writing a movie or trying to sell a script or something like that. I have never put that kind of imposition on my characters. Wherever they go I follow.
One night a friend lent me a book of short stories by Franz Kafka. I went back to the pension where I was staying and began to read The Metamorphosis. The first line almost knocked me off the bed. I was so surprised. The first line reads, “As Gregor Samsa awoke that morning from uneasy dreams, he found himself transformed in his bed into a gigantic insect. . . .” When I read the line I thought to myself that I didn’t know anyone was allowed to write things like that. If I had known, I would have started writing a long time ago. So I immediately started writing short stories.
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