A Quote by Sabrina Claudio
On 'About Time' there were about three times I had a co-writer with me. The rest of them was me, I wrote them myself.
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By the time I wrote my memoir, 'Men We Reaped,' I had been running from writing it for a long time. When the events in the book were happening, I knew I'd probably write about them one day. I didn't want to. I'd studied fiction, and I was committed to establishing myself as a fiction writer first.
"Only write what you know" is very good advice. I do my best to stick to it. I wrote about gods and dreams and America because I knew about them. And I wrote about what it's like to wander into Faerie because I knew about that. I wrote about living underneath London because I knew about that too. And I put people into the stories because I knew them: the ones with pumpkins for heads, and the serial killers with eyes for teeth, and the little chocolate people filled with raspberry cream and the rest of them.
More and more, I play myself, as I get older. Even as a writer, I never got typecast. I've always bounced from project to project, or initiated my own things. I was never known as the guy who wrote romantic comedies or sci-fi, or whatever, but that's fun to me. The first two films I ever had made, as a writer, were both thrillers, which was great. There was nothing funny about either of them, or not intentionally. I actually love that.
Everyone always asks, was he mad at you for writing the book? and I have to say, Yes, yes, he was. He still is. It is one of the most fascinating things to me about the whole episode: he cheated on me, and then got to behave as if he was the one who had been wronged because I wrote about it! I mean, it's not as if I wasn't a writer. It's not as if I hadn't often written about myself. I'd even written about him. What did he think was going to happen? That I would take a vow of silence for the first time in my life? "
Playing a character that allows me to play around with some of the feelings I have inside of myself and explore them - and maybe put them to rest a little bit, or at least come to terms with them - feels successful to me. I think it's about believing in what you do.
To be honest, I didn't want to get inside Jones's head. Every time I wrote about Jim Jones I practically had to tie myself to my chair to force myself to do it; I hated him so much. He wanted to go down in history and he did. He's had hundreds of books and articles written about him. I was much more interested in the stories of the rank-and-file members of Peoples Temple, what drew them to Jones, and what they did once they were trapped in Jonestown and realized Jones was intent on killing them.
I do that a lot of authors still do not do is allow people to write directly to me. I get about 50 fan letters a day, and I answer every single one of them myself. It takes a lot of time and sometimes it's a pain in the neck and I answer the same questions over and over. But the truth is these people come to my readings clutching these letters saying, "You wrote me back. I can't believe you wrote me back", and I think it really means a lot for them to know that the author values them just as much as they value the author.
There were times that the kids were upset I wasn't there, those three times a year they needed me. The rest of the time, I'm sure that I wasn't in their thoughts.
My literary heroes all wrote about L.A.: Joseph Wambaugh, Ross Macdonald, and Raymond Chandler were the three writers that made me want to be a writer.
Being a correspondent at the Vietnam war for me was about exposing myself to danger but it wasn't completely self-serving. I felt that there were these dark places of the earth, were dark things were happening and people should know about them. Call it my moral obligation to go and see them and report them.
I took to writing as my medicine to help me stay afloat in acting career journey. I wrote about me breaking hearts, and my heart being broken. I wrote about my views whether they were liberal or conservative. I wrote about everything. I wrote about my life. When I did not have paper coming in as green backs, I'd use random pieces of paper for stories. It was like, I got no money, but I have paper to write. So I wrote.
I loved them all the way one loves at any age -- if it's real at all -- obsessively, painfully, with wild exultation, with guilt, with conflict; I wrote poems to and about them, I put them into novels (disguised of course); I brooded upon why they were as they were, so often maddening don't you know? I wrote them ridiculous letters. I lived with their faces. I knew their every gesture by heart. I stalked them like wild animals. I studied them as if they were maps of the world -- and in a way I suppose they were.
It was a natural progression for me to write about Millenials transitioning into management but I found myself getting emotional as I wrote. I really do want to repay them for all they have given me. What better way than to help them transition to the next level of their career!
I made three works about men in my life. But I had much more than three men. I never wrote about them.
I was in Rome this time for about three or four months, and I feel like, by the time I left, every single person in Rome had seen me at least 10 times riding my bicycle. When I first got there, it seemed like people were happy to see me and would say hello. And by the end, they were kind of bored of seeing me. And it was like, "Ugh, there he goes again".
The rest of the band were basically friends, So it was me following them around and begging them to let me be in their band for two or three years. And they finally let me in on the harmonica, actually, and then the keyboards, and finally the guitar.
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