My life is routine. I wake up early in the morning. I brush my teeth. I sit on the floor of the cell I do not go to breakfast. I stare at a gray cement wall. I keep my legs crossed my back straight my eyes forward. I take deep breaths in and out, in and out, and I try not to move. I sit for as long as I can I sit until everything hurts I sit until everything stops hurting I sit until I lose myself in the gray wall I sit until my mind becomes as blank as the gray wall. I sit and I stare and I breathe. I sit and I stare. I breathe.

I don't speak with proper grammar. I don't speak with dialogue attribution. I don't speak with quotation. I don't care about any of that stuff. It's about rhythm, and it's about what's in their [the character's] head, and what feels more natural. And it's about speed. I want things to move.

When I started writing 'A Million Little Pieces,' I felt like it was the right story with the style I had been looking for, and I just kept going.

I always wanted to write a book about LA, a big ambitious book. Nobody had ever really done it with LA- treating the city seriously as a major economic and cultural power, as the embodiment of 21st century America.

I'm pretty good at compartmentalizing things and not allowing things outside of myself to distract me or bother me or affect me in any way.

I don't want to walk in the middle. I want people to read what I write and feel strongly about it. If, at some point, whatever I am doing is failing to elicit a response, whether it's very positive or very negative, then I am going to stop doing it.

It's the third book of the Bible, called The Final Testament of the Holy Bible.My idea of what the Messiah would be like if he were walking the streets of New York today. What would he believe? What would he preach? How would he live? With who?