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.

It's about being fair. It's about Black Lives Matter. Yes, they matter. Everybody counts or nobody counts, and I think if more cops had the philosophy of Harry Bosch, we'd have less of these situations happening.

People like the Bosch books because they like Harry Bosch, not because the plots are fantastic.

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.

I can't say I'm an expert on public transport.

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.

My experience as a newspaper reporter was invaluable in terms of getting me to the kind of writing I do now. It gave me a work ethic of writing every day and pushing through difficult creative times. I mean, there's no writer's block allowed in a newsroom.

When I was a teenager, I was a voracious reader of crime fiction, but only contemporary books. I was not interested in reading 'The Glass Key' or 'The Maltese Falcon' - stuff that was 40 or 50 years old.

There is a prevailing school of thought that something good must take time, sometimes years to create and hone. I have always felt that the books I have written fastest have been my best - because I caught an unstoppable momentum in the writing.

When I write about Mickey Haller as the Lincoln lawyer, I totally see Matthew McConaughey because he took that character when that character was still fairly new to me - only two or three years old - when I knew McConaughey was going to play him. He's also the same age, the right age, in comparison to the book.

My father was a builder. During my high school years, I worked for him. One summer, I was working with a guy who had just come back from Vietnam and had been a tunnel rat. He wouldn't talk about the experience, but it sounded really scary to me.

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 get up to write while it's still dark, 5 or 5:30. I start by editing and rewriting everything I did the day before, and that gives some momentum for the day.

I connect to the tradition of Irish storytelling. And I think there is something - I can't put my finger on it - something genetic there. Maybe just a need to tell stories.

With age comes a greater understanding and a greater worldview.

I'm going to have to be impressed and feel confident in the people I'm handing a book to - or I'm not going to do it. Once you hand it to them, you're out. You have no control over it.

Write every day even if it is just a paragraph.

A good day to me is writing from 6 A.M. 'til noon with a break to take my daughter to school. After lunch, if I still feel the momentum, I'll hit it again.

The books I've written the fastest were the best reviewed and sold the best.

I went into journalism to learn the craft of writing and to get close to the world I wanted to write about - police and criminals, the criminal justice system.

I chose deliberately for Harry Bosch to age chronologically with the books.

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 think there has to be an empathic strike between the reader and the protagonist. There has to be something said or known that connects the reader to this person you're going to ride through the story with.

When I was in college, there were dollar movie nights. I went to see 'The Long Goodbye,' which was based on one of Chandler's books but was contemporary and set in Los Angeles in 1973. I loved the movie, which motivated me to read the book.

I hate people thinking their city is unique, but there is a certain aura about Los Angeles; it's not necessarily a beautiful thing, but it's part of Harry Bosch.

This next to never happens, but if I had time to sit on a beach and read, I wouldn't read a cozy. But I've read cozies. That's how I got interested in crime fiction: because my mother was a soft-boiled reader.

Keeping your head down and just writing is only part of the equation, so I surround myself with smart people to help sell my books.

In the TV world, we are seeing a lot more power going to the writer. I sense it is a writer's medium.

I watched 'Kojak' religiously with my father. It was a great bonding time. He loved shows where the stakes were high. Life and death, justice prevailing, things like that. I think that helped set me on the path to what I do now.

The criminal defense attorney is misunderstood if not despised by most of society. It doesn't matter if we believe in our adversarial system and the ideal that everyone charged with a crime is entitled to a vigorous defense. Ideals give away to reality - defense lawyers working loopholes and angles to get their clients off.

I get into this unfortunate thing when I'm touring for my books. I was in Spain, and the media asked me, 'Who's your favorite Spanish mystery writer?' I'm totally flat-footed. I feel that I'm under-read when it comes to foreign writers.

As a reporter, you develop an ear for dialogue because it's your job to capture it accurately.

I mostly read on airplanes and right before sleep.

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

I want to tell stories that reflect how people are feeling.

Every time I visit Brisbane, I think, 'This is my childhood.'

When I was at a newspaper, I knew what an opportunity that was, and I religiously protected my time on the cop beat.

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

My whole reputation and creative thought as a novelist is really wrapped around Harry Bosch, so he's near and dear.

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

There are nineteen Harry Bosch books, and someone told me if you add up the descriptions of Harry from all of them, it would come to less than three pages. He's very elliptically described over the two decades during which the novels occur. I did that by intention.

I first discovered Tampa in my 20s when I met my wife, who was living there, and I instantly fell in love with the city. It's somewhere between a big city and small town, so you get the feeling of both.

The fulfillment I get from a good day of writing is addictive and will always bring me back the next day.

The LAPD, like most police departments, is a male-dominated bureaucracy. A woman faces a lot of pushback.

When I went home at 20 to tell my parents, 'I don't want to be an engineer, I want to try and write books,' I was braced for, 'That's not gonna happen.' But I didn't get that response, and maybe it was because of my dad's experience of having an artistic dream and having to put it aside.

I have high hopes for Renee Ballard's literary life, and it can't start out better than the top of 'USA TODAY''s best-seller list.

When I lived in L.A. full time, I moved often - fourteen different neighbourhoods in sixteen years.

As soon as I got to L.A., there was this big crime where these guys tunnelled underneath a bank on a three-day weekend and went right up to the vault and emptied everything out.

Artists are supposed to stay hungry.

I got lucky, and the first book, 'The Black Echo,' got published.