Intelligent people talked seriously about interesting matters, and those same intelligent people then mingled in warmth and good fellowship. This time they did not even have to pay for their own food or drinks.
I liked Laura Lippman's criticism of the oft-given advice that beginning writers write what they know. She said the advice served her poorly in one of her own embryonic, excessively autobiographical early efforts. "Write what you know," Lippman said, is "well-intentioned, but it's poorly put. [Better to] write what you want to know about."
Brian Azzarello said his characters "become really special to me after I kill them." Azzarello, author of, among others, the graphic novels 100 Bullets, The Joker and Filthy Rich, also said, "I don't write protagonists. They're all antagonists." Based on the first trade paperback collection of 100 Bullets, that's an accurate description.
(Judy Bobalik, Jeffrey Deaver)
Sam Reaves told one aspiring writer that "You don't want a tender-hearted agent, you want someone who will tell you the truth." And, for professional reasons, I had to enjoy Jeffrey Deaver's account of what happened when he rented a porno movie called Blonde on Blonde as research for a book he was setting in the porno world:
"Except in the editorial community these days," Deaver said, "the e [at the end of blonde] signifies that it's a woman." It did not so signify to the labellers of Deaver's porno movie, he said, and he and his girlfriend received a surprise when they slipped the tape into the Betamax. It's always pleasant to be reminded of what happens when copy editing goes bad.
"They've got your cookies."(More Murder and Mayhem snippets from Sandra Ruttan here.)
"I'm a dick as a father, but people still like me."
"Sleeping and passing out aren't the same."
Finally, here's the picture referred to above. Don't blame me; I didn't take it.
© Peter Rozovsky 2009