Raymond Chandler Quotes

Grand Central really didn't want me doing anything under my own name but the 'Kitty' novels.

I'm looking for backing for an unauthorized auto-biography that I am writing. Hopefully, this will sell in such huge numbers that I will be able to sue myself for an extraordinary amount of money and finance the film version in which I will play everybody.

There are plenty of secondary characters that I had always hoped to write, but I don't know if it will ever happen. The way contracts work, if you leave one publishing house for another, the characters tend to stay with the previous publishing house.

When you write a book for publication, you're writing it for other people to read.

Marriage is a financial contract; I have enough contracts already.

I've had many of my books optioned.

Authors don't tend to stay with the same agents and editors over their entire lifetimes, but Grafton worked with Marian Wood, her editor at Putnam, from Kinsey's first outing, and signed with Molly Friedrich, still her literary agent, with the publication of 'B Is for Burglar.'

Someone asked me, 'How long do you intend to do 'Deadwood'?' And part of my sociopathology, I say, 'Well, when does my contract run out?' And I realize my contract ran out at the end of four seasons.

The one thing a writer has to have is a pencil and some paper. That's enough, so long as she knows that she and she alone is in charge of that pencil, and responsible, she and she alone, for what it writes on that paper.

The writing of the record didn't take long, because I just have a huge stack of papers and I just pluck from the stack. It took a long time because it's very expensive to make records; in fact, I think it's a complete rip-off.

There was one person who greatly and directly benefited my career--my agent Virginia Kidd. From 1968 to the late nineties she represented all my work, in every field except poetry. I could send her an utterly indescribable story, and she'd sell it to Playboy or the Harvard Law Review or Weird Tales or The New Yorker--she knew where to take it. She never told me what to write or not write, she never told me, That won't sell, and she never meddled with my prose.

What drives me now is the desire to be able to keep doing this. I love making records and performing, and success means I will continue to have the privilege to do that. I know it's not going to last forever, but I'd like to keep having success as long as I can so that I can still be a part of this industry.

They're always surprised with what I want to do and don't want to do. I think they're surprised I don't want to do robo-tech. I don't know, it's like they want me to have a long career. And be prolific and make big movies.

I actually produced other people's vocals for a long time when I first signed my publishing deal and I had just sort of decided that I only wanted to be a writer. I would be in all of these writing sessions, and a lot of times my publisher would say, "You should get a demo singer to sing it because then it doesn't identify as a Solange song."

When I write a film, the film gets handed off to a producer and a director and I go my merry way. With television, I am expected and contracted to stick around and actually produce what I've written.

After a while the business end of writing takes too much of the writing time. Better to pay someone ten percent and find that you're still more than ten percent ahead in the end. Which is true. My present agent says that he always feels that a good agent during the course of a year should earn back for his client at least the ten percent he takes by way of commission, so the client's really nothing out. And what he should ideally do is make him more money than the ten percent.

Aaron Sorkin very sticky about using precise language. It's in his contract: you have to use what he writes!

I think having a good agent is key. I've been with mine for ten years now, and she's very honest with me. There are a lot of times I've sent her books that were not so good because I was tired of writing, or panicked about money, and she's told me flat out, "You don't want this to be your next book. Trust me."

I'm conservative with my money. I'm the one who's got a family and I can't be playing basketball forever, so when I retire, I want to live on what I've made.

A literary agent is nothing but a cheap salesman (or woman); while a writer is a cheap salesman (or woman) who also has to actually write the books.

I'm not willing to sign a contract. They want everything. They want the rights to do the movie and everything else they can think of, forever. There's no limit to the contract. In this universe and universes to be discovered - I'm not making this up - this is in the contract.

Come, let’s be calm: no one incapable of restraint was ever a writer.

I'm a writer-director-actor, which I've always kind of enjoyed. I compared it to the Olympic biathlon. "Not only can he cross-country ski, but he's a terrific marksman as well." I want people to say, "You mean that writer performed a tracheotomy?" That's right, I do everything.

People often ask me how long it takes me to write a play, and I tell them 'all of my life.'