I think one of the big things that's come out of ghostwriting for me is real compassion for the complexity of fame.

No one grows up thinking they want to be a ghostwriter. No one plans on that job.

I'm so used to being separate from the publication process. I turn in the book to the editor and then I'm done.

I think that the celebrity memoir as a genre is looked upon as a lesser form. One of my missions as a ghostwriter has been to elevate that form. Maybe that sounds pretentious!

We exploit celebrities by caring about shallow things like whether they've gotten a facelift. And we violate their children constantly. But we also love them in a way.

Lizzie Pepper is pure fiction! The character is pulled from tabloids. But I think we all look at celebrity marriages and invest in them.

I think people dismiss celebrity memoirs as unreal, contrived and maybe partially made up. But that's definitely not true for anything that I write.

I'm handed a bunch of existing data. My job is to put that in the best narrative form. That is a puzzle I love to solve.

None of my clients are criminals, but to a much lighter degree that's what goes on. I hear the story, and I hear it with the level of detail that breeds empathy.

Working with somebody who has a more interesting life than I do - and getting to take on that life temporarily - is an endlessly interesting way to have the experience of writing memoir.

I've been writing books without ego for a very long time. I feel like it will get what it deserves. Or won't get what it doesn't deserve.

When one learns to focus energy through surrender and sensitivity, they become free, and can access the expansiveness of endless possibility.

Respond to your ability, play your part and make your mark in history.

After about ten years of study I ended up feeling so full and blessed that I wanted to give some of what was given to me back to humanity.

The left has lost the common touch.

Smallville' was my first love and it is always close to my heart.

There are some people the gestation period is like an elephant's and it's just years and years before they're ready.

We don't have enough young, female antiheroes. We don't accept women as antiheroes the way we do the men.

Men are boys in bigger packages.

I wanted to work with Bert Lahr [the 'Cowardly Lion' in 'The Wizard of Oz'], and I did.

Diplomacy is the art of telling people to go to hell in such a way that they ask for directions.