The play is always fresh to me. It's not the audience's fault that I've said the words before.

If somebody attacks me with words, I'm always like, 'Do you know me? Do you know me that well? Let's have a beer and talk about it.'

I wrote 'No Words' and 'Mull of Kintyre' with help from Paul. He was always like a big brother to me and a strong influence on my songwriting.

There, in the chords and melodies, is everything I want to say. The words just jolly it along. It's always been my way of expressing what, for me, is inexpressible by any other means.

Generally, my notes and outlines comprise more words than my novels. I suppose that's one reason I'm a comparatively slow writer, something that has always bothered me given the fact that other authors can turn out a book every six months while I usually take about two years.

We give speeches and pin ribbons onto uniforms, etch names into walls. And all that is fine, but too often, all those tributes, all those words aren't always backed up by action. And that felt like such a stark contrast to me, because, as we all know, our military is all about action.

One of the reasons that DC, Marvel, and other comic book companies have always asked me to do covers and variant covers is because they know that when they tell me 'icon,' I jump over their words, and I give them an iconic cover - but while I'm doing it, there is going to be an idea there.

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