While I write this letter, I have a pistol in one hand and a sword in the other.
When I was first starting to write plays, I quite literally had never heard of the idea of studying playwriting. I wouldn't have studied it even if I had heard of it.
With songs, I've always pledged to be honest. I write my songs because I've lived them.
It's hard to write a good plot, it's very hard.
I don't really write plots. I use history as the engine that drives everything.
I've always wanted to write poems and nothing else.
The most important thing for poets to do is to write as little as possible.
I don't write a quick draft and then revise; instead, I work slowly page by page, revising and polishing.
When I'm writing a pop song, I'll just write formulaically, strategically.
Sometimes, I write '60s or '80s style pop songs.
I have a six-year-old son and a four-year-old daughter, so I write when they are at school and pre-school, or when I have a babysitter.
I've tried to write about Heathrow before and been escorted off the premises.
I'm not an extremely prolific writer. I don't write songs all the time.
I write for a lot of places, so I'm on a lot of promo lists.
IT is difficult to speak or write with becoming moderation or propriety, on topics to which we are biased by prejudice, interest, or even principle.
The experience of writing under a pseudonym was tremendously liberating; I could write what I wanted.
But I love to entertain. My vocation is to accrue all these experiences, to write about them, to get them out of my system, to not get sick, and then to share them publicly.
I don't necessarily intend to publish posthumously, but I do like to write for myself.
A publisher many years ago asked if I'd like to write a novel for £50. And I said, 'Absolutely.'
Although I still write, research and investigate, my role is primarily that of a publisher and editor-in-chief who organises and directs other journalists.
