I'd been involved in journalism for a long time - my dad's a journalist, he's written many books, and when I was twelve years old I wrote reports on local football matches for the newspapers.
I really think more fledgling novelists - and many current and even established novelists - should get out into the real world and cover local politics, sports, culture, and crime and write it up on deadline.
I'm a writer. I've been a journalist for my whole adult life.
I had an idea in the beginning to do a book about some of the events that I had covered, just various stories that I've covered. Reporters spend a lot of time telling each other tales about how they covered stories, and that's what this book started out to be.
I love writing traditional magazine pieces, and especially their breadth of reporting and the deliberateness of the writing.
My favourite writers are columnists.
I wrote newspaper articles professionally for seven years, and I love newspapers.
I write a column for The Village Voice, which I've done since time immemorial, and occasionally - and books. And I occasionally write minor notes for record albums and occasional articles.
My father was a journalist. He used to write for 'Blitz' tabloid.
Lilian Ross was a - veteran writer for The New Yorker. She, in fact, brought me to The New Yorker many years ago.
When I'm writing for Esquire, my conscious thought is, I'm not writing for American Scholar.
I have a journalism degree, but I'd rather be the person who is being written about rather than the person who is writing.
Magazine stories, the best ones anyway, are generally a combination of three elements: access, narrative, and disclosure.
I've basically worked as a journalist and a writer.
When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't.
When I started working for Rolling Stone, I became very interested in journalism and thought maybe that's what I was doing, but it wasn't true. What became important was to have a point of view.
One of the things I regret is that magazines now are so lifestyle-orientated that the opportunity to do bigger projects is gone. This is a serious misjudgment on the part of magazine editors.
I started as a print reporter.
I have been active as a writer and journalist for nearly forty years. But the number of great reporters I have run across in that time would make, as they say, a slim book. Without question, the top man on my list would be Tommy Thompson.
When I was in 10th grade, I took one of those tests that's supposed to tell you what you should be when you grow up. The test told me that I should be a journalist.
I started on the fringes of journalism as a cartoonist on The Daily Mail.
One of the great things about being a writer/journalist is that my boss loves me to go out and do features on being someone else. I did a feature on Kate Middleton, where I went to an incredible fancy state home in the countryside, put on a wedding dress and posed for engagement pictures with a fake Prince William.
Every writer dreams of having the ability to hold forth for 8,000 words and pull all these different forms together: history, reportage, journalism. That was all I really wanted, and 'The Atlantic' was my first high-profile opportunity.
When I got a little older, I started writing for the high school newspaper, 'The Maroon Wave,' and that's when I fell in love with journalism.
I'm a unicorn in the world of journalism; I've stayed in the same mid-sized city, and that staying has allowed me to write two deeply-reported books.
