There is no place so benighted and godforsaken that some moron won't go there on vacation. People could be living in an open sewer and swallowing dirt to stop the hunger, and there'd be a couple from Larchmont wearing comfortable shoes there to take pictures of them.
Tod Goldberg has long been one of the most interesting writers around, and Gangsterland is his biggest and best book so far.
If I don't have a project going, I sit down and begin to write something - a character sketch, a monologue, a description of some sight, or even just a list of ideas.
I held a variety of jobs - most notably ten years working in universities - and kept on writing.
I don't think the problem is that people don't read enough mystery books, but that people don't read.
I don't have dry seasons, because I don't allow them.
I do have to earn a living, so I'm conscious of probable reactions from readers, but the most important one is still the awareness that if I'm not enjoying a story, the reader won't either.
I don't consciously do anything to maintain a unique voice.
I do like to explore evil characters in my books.
Reading a novel in which all characters illustrate patience, hard work, chastity, and delayed gratification could be a pretty dull experience.
I do try not to spend much time reading in the suspense genre.
Contrary to what many writers imply about the process, nobody forces a writer to sell his work to the film industry.
All writers are mimics, and I'm not interested in picking up somebody else's style or voice.
But at the same time, the commonplace statement about them is true: every character is the hero of his own story. Each has a justification for his actions that is convincing to him. It's fun to give these people voices.
You have very accurately described the difficulty of presenting my books on film: many of my characters are alone most of the time, and when they do talk, what they say is mostly lies. That can make for a pretty confusing film.
Being comfortable isn't the way to learn to expand your abilities.
There are days when I intentionally don't write. For instance, I never write when I'm traveling, because travel is a situation where I can learn more by looking and listening than by working.
When I write a book, I'm making it the best book I can.
Yes, in my books I do edit myself to keep from becoming the Village Explainer.
Much of what we do in life has a huge component of luck.
What I look for in any character, good or bad, is whether I can hear him speak. If I can imagine him that clearly, then I can write about him.
The characters you refer to as predatory and unsavory are useful. They're the ones who make a novel into a thriller. They're active, and most of the common virtues, the signs of a good person, are not.
Once you have invented a character with three dimensions and a voice, you begin to realize that some of the things you'd like him to do to further your plot are things that such a person wouldn't, or couldn't, do.
It's important, I think, for a writer of fiction to maintain an awareness of the pace and shape of the book as he's writing it. That is, he should be making an object, not chattering.
If you'll think about various series you've read, can you think of any instance in which, say, the tenth volume of the series is notably better than the first nine? I can't.
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