Michael Connelly's Quotes

Now I'm writing about contemporary Los Angeles from memory. My process was to hang out, observe, research what I was writing about, and almost immediately go back to my office and write those sections. So it was a very close transfer between observation and writing.

The philosopher Friedrich Nietzsche once wrote that when you look into the darkness of the abyss the abyss looks into you. Probably no other line or thought more inspires or informs my work.

We want our government to protect us, to make sure something like 9/11 never happens again. We quickly moved to give law enforcement more power to do this. But that now begs the question, did we move to fast? Did we give too much power away? I don't have the answer.

I'm a disciple of Raymond Chandler, who said in his essays that there's a quality of redemption in anything that can be called art.

I don't miss being a reporter as a job, but I do miss the everyday interaction with the front line of law enforcement. I still have a cadre of cops who keep me up to date, but I don't have the access I used to.

What is overriding that and most important is that readers generally are interested in a good character. They might be more comfortable with Harry because they think they know him, but they always seem willing to give somebody new a chance.

A newspaper is the center of a community, it's one of the tent poles of the community, and that's not going to be replaced by Web sites and blogs.

Deep in my heart it still feels like I'm a journalist even though I haven't worked for a paper and carried a press pass for 14 years.

I don't think anyone will believe me, but I've never been pressured by a publisher to churn out a book.

I feel I'm functioning at some level as a journalist because even though I write fiction, I'm trying to get the world accurate.

I love movies. Movies have influenced me as a writer.

I never miss L.A. because I'm there enough.

I think there's a general misconception that anything written quickly lacks quality, and I don't believe that.

I'm always looking at ways of shaking up the writing experience because I think it helps.

I've sold 11 of my books to Hollywood. There are all kinds of my books on shelves in Hollywood because the scripts didn't capture the characters.

That's the irony in the work: the best stories are the worst things that happen. My best times were somebody else's worst.

The characters I write about are very internal.

We're all seeking order. We're all seeking control.

Write every day even if it is just a paragraph.

I realize now I could have gotten a whole book out of that and so I think that was a big mistake. But the truth is you write in the moment and with your head down and there is no way back then that I could have conceived of Harry having the longevity that he has had.

I think books with weak or translucent plots can survive if the character being drawn along the path is rich, interesting and multi-faceted. The opposite is not true.

I think I would spend the first 30 weeks not writing, just clearing my head and seeing parts of the world I haven't seen and going back to places I have seen and love.

I think the only boundaries are individual and personal. A writer should be free to write about anything he or she wants to, including the twin towers. I have made small references to 9/11 in my past two books.