Explore Quotes by Erik Larson

As my friends will tell you, I am a superior agonizer. Believe me, you do not want me in the cockpit of an airliner. But in my defense, choosing an idea is also a high-stakes affair.

When I'm in New York, I have, like probably everybody else in Manhattan, a white-noise generator to use at night: a Marpac Dual-Speed Dohm-DS. It is terrific. I've never slept better in the city.

After I finish writing a chapter, I'll print it out, cut it up into paragraphs, and cut away any transition sentences. Then I shuffle all the paragraphs and lay them out as they come. As I arrange and hold them next to each other, very quickly a natural structure for the chapter presents itself.

I envy other writers who claim to have a backlog of books they'd like to write.

In hunting ideas for books, I look for stories about long-past events that once commanded the world's attention but that, for one reason or another, faded from contemporary awareness.

A writer could spend years reading already-published books just to gain a grasp of the historical terrain.

The writer marks the changes he wants to make, while a proofreader also goes through the galley, checking it page-by-page against the manuscript. Once all these changes are identified, a second-pass proof is made, and this, too, gets sent to the author and the proofreader, and the process begins anew.

In 1900, 45 steamship lines served Galveston. Twenty-six foreign governments had consulates there. The storm damaged its reputation as a safe place for substantial investment by railroads then seeking to dominate various trans-continental routes.

I think, one day, I might actually try writing a bunch of - a collection of essays maybe on the funnier side of the spectrum. I don't know. But it's fun to have, frankly, Twitter as kind of an outlet. When you're writing about dark things all day, it's kind of fun to have fun.

The Nazis hijacked the Jewish thing early on by defining it as 'the Jewish problem' and started looking for a solution. These are not just words.

I write to be read. I'm quite direct about that. I'm not writing to thrill colleagues or to impress the professors at the University of Iowa; that's not my goal.

I was once again looking for a book idea, and I remembered Holmes, but I specifically remembered that there was this World's Fair thing in the background. I thought, 'I'll read about the fair.' I had nothing better to do. I'd dismissed about a dozen ideas, and I was getting sort of antsy. I started reading, and that's where I got hooked.

My life! That's a long story, too. I was born in Brooklyn, New York, like half of the world, I think.

What drove me to do 'Dead Wake' was that after doing the most preliminary of reading and scoping out what kinds of materials might be available in archives and so forth, I realized that this book - the research, the writing - would present me with a rare opportunity to explore to a full extent the potential for suspense in a nonfiction work.

I've met many Holocaust survivors who find the era infinitely compelling because they have this deep hunger to understand how it all could possibly have happened.

As a writer, you always try to imagine, 'What if I were in a situation like this? How would I react?'

At first glance, the story of the Lusitania doesn't seem like the sort of thing I would take on. I usually like ideas that are a little bit more complex, things that people don't know about - or maybe they once did, but now you bring it to life for them for the first time.

When I'm interviewing somebody, I take notes with a Bic Cristal, the classic black-cap, clear-body, medium-weight pen. It works on many levels: You can chew the cap, and if you're really bored, you can bite the end off the back.

At some point in the idea process, I simply wear myself down and force myself to choose. But here's the thing: Once I do choose, suddenly all the other possibilities wither and die, and thus I never have a backlog of well-formed ideas waiting for me when my latest book gets finished.

If I'd been living in Berlin in 1933-34, could I possibly have foreseen the Holocaust and all the corollary horrors of World War II? And if I had, would I have done anything about it? I also started to wonder: how does a culture slip its moorings?

I knew Berlin would have to become a kind of character in my new book, 'In the Garden of Beasts'. I had felt likewise about Chicago when I wrote 'The Devil in the White City' and Galveston with 'Isaac's Storm'.