American - Author | July 21, 1956 -
I trust the readers to build their own visual images. To me, that's part of the wonder of reading.
Michael Connelly
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I'd seen Titus Welliver in a few shows and felt he had some inner demons in his portrayals, as does Harry Bosch.
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In writing on the page, you can be a bit elliptical, but on TV, you can't dance around stuff. You either show it, or you don't.
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As a reporter, you develop an ear for dialogue because it's your job to capture it accurately.
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When I was at a newspaper, I knew what an opportunity that was, and I religiously protected my time on the cop beat.
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Eight to ten years in a patrol car? I didn't have that in me.
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What brought me to the table was Raymond Chandler and, to a lesser degree, Ross Macdonald and Dashiell Hammett. I was basically inspired to want to write like the classic private-eye writers.
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In 1995, I sold the rights to Harry Bosch to Paramount. They had several screenplays written, but a movie never happened. Harry Bosch went on the shelf, and I had to wait 15 years to get him back.
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My entire career writing novels was wrapped up around Harry Bosch. This character was too important to me to just hand off.
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Being a journalist always makes you a quick study of wherever you're at. You're out all the time and seeing places that normally you wouldn't get to see. It gives you an unusual level of insight into any place.
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When I lived in L.A. full time, I moved often - fourteen different neighbourhoods in sixteen years.
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L.A. is a long shot city, and those who make that shot - you can tell. You can see very clearly who's made it and who hasn't.
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