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

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.

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.

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.

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 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.

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

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.

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

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.

Write every day even if it is just a paragraph.

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.

With age comes a greater understanding and a greater worldview.

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.

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'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.

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.

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.

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 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.

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.

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.

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