So, let’s just say: I have a lot of Houdini stuff. A lot. Too much? No, I didn’t say that. I just said “A lot.” When I’m writing a book, I like to be entirely submerged. I have no earthly idea if this helps the writing, hurts the writing or has no impact at all on the writing … but it’s basically the only way I know how to do these things. When I wrote my first book, “The Soul of Baseball,” I refused to listen to any kind of music except Kansas City-inspired jazz. When I wrote my second book, “The Machine,” I only listened to songs from 1975. When I wrote my third book, “Paterno,” I didn’t have to do anything to be immersed because that experience swallowed me up whole.
Surrounded by Houdini
Surrounded by Houdini
Surrounded by Houdini
So, let’s just say: I have a lot of Houdini stuff. A lot. Too much? No, I didn’t say that. I just said “A lot.” When I’m writing a book, I like to be entirely submerged. I have no earthly idea if this helps the writing, hurts the writing or has no impact at all on the writing … but it’s basically the only way I know how to do these things. When I wrote my first book, “The Soul of Baseball,” I refused to listen to any kind of music except Kansas City-inspired jazz. When I wrote my second book, “The Machine,” I only listened to songs from 1975. When I wrote my third book, “Paterno,” I didn’t have to do anything to be immersed because that experience swallowed me up whole.