If work was a good thing, the rich would have it all and not let you do it.

I think any writer is a fool if he doesn't do it for money. There needs to be some kind of incentive in addition to the project. It all goes together. It's fun to sit there and think of characters and get them into action, then be paid for it. I can't believe it when writers tell me 'I don't want to show my work to anybody'.

I do this a lot with names. I'll start with a name, and then for some reason he won't talk much, or he's older than I pictured him just because of a name I give him. So then I finally get the right name, and I can't shut the guy up. This always happens. There's always a character who gives me trouble that way.

I never see my bad guys as simply bad. They want pretty much the same thing that you and I want: they want to be happy.

I still read Hemingway. I still read his short stories because they're so good. He doesn't waste any words.

My characters have to talk, or they're out. They audition in early scenes. If they can't talk, they're given less to do, or thrown out.

I would say just start writing. You've got to write every day. Copy someone that you like if you think that perhaps could become your sound, too. I did that with Hemingway, and I thought I was writing just like Hemingway. Then all of a sudden it occurred to me - he didn't have a sense of humor. I don't know anything he's written that's funny.

The truth is that the writers who most influenced me weren't people categorized as crime writers. I'd say I learned more from John O'Hara, who isn't much read today but whose short stories I really admired, and Hemingway, who I think has lasted pretty good.

When people ask me about my dialogue, I say, 'Don't you hear people talking?' That's all I do. I hear a certain type of individual, I decide this is what he should be, whatever it is, and then I hear him. Well, I don't hear anybody that I can't make talk.

I don't have any of the modern stuff. I don't have e-mail. I don't have a computer!

People ask me, 'Why are you still writing books?' Like I'm still only writing to make money and as soon as I have enough I'll quit and go fishing? I like to write books. It's the most satisfying thing I do.

If I just sit here, what am I going to do? I don't have a trade. I don't teach or anything. I just love to make up characters and gradually build a story around them.

When I get an idea for a book, something appeals to me, it's usually a character. I'll see a picture of a female marshal in front of the courthouse in Miami and she's got a shotgun on her hip and it goes up on an angle. And she's good-looking. And I say, 'I've got to use her.'

I get letters. I get several a week, I think. A lot of people want a picture, a lot of people just want an autograph.

Sometimes female characters start out as the wife or girlfriend, but then I realize, 'No, she's the book,' and she becomes a main character. I surrender the book to her.

I'm not aware of a cadence when writing, but I hear it after. I write in longhand, and that helps. You're closer to it, and you have to cross things out. You put a line through it, but it's still there. You might need it. When you erase a line on a computer, it's gone forever.

Writers - all writers, even screenwriters - like to make their mark. I don't think many screenwriters can write. They pass as writers.

I decided to write Westerns because there was a terrific market for Westerns in the '50s. There were a lot of pulp magazines, like 'Dime Western' and '10 Story Western' that were still being published. The better ones paid two cents a word. And I thought, 'I like Westerns.'

I want the reader to know what's going on. So there's never a mystery in my books.

A friend of mine who is in the publishing business knew I was writing a book, and he said, 'Have you said anything yet about the good guy? Because I know you spend so much time with the bad guys.' Because they're fun. So then you have to make the good guy fun, in order to compete. That's the challenge.

Everyone has his own sound. I'm not going to presume how to tell anybody how to write.

It took me 20 years to buy an electric typewriter, because I was afraid it would be too sensitive. I like to bang the keys. I'm doing action stories, so that's the way I like to do it.

I never know what I'm going to write next. If I'm still writing the book but I'm very near the end, and I begin to think of what I'd like to do next, then I'll know that what I'm writing is in hand. I'll think of an ending and it will be fine.

If I have several bad guys and I only want to end up with one of them, then I have to decide which one I want in the end. And normally it's the one who is the most interesting talker.

I don't want to write any more screenplays, I'll tell you that right now. It's a waste of time. You've got too many people who think they have the answer to a good screenplay and they don't. No one knows.

My purpose is to entertain and please myself. I feel that if I am entertained, then there will be enough other readers who will be entertained, too.

I think the best advice I give is to try not to write. Try not to overwrite, try not to make it sound too good. Just use your own voice. Use your own style of putting it down.

Writing screenplays is not my business. I've written half a dozen, and maybe half of those were made. But it was never a satisfying experience. It was just work. You're an employee. You would be told what to do. Studio execs would cross out my dialogue and put in their dialogue.

I think any writer is a fool if he doesn't do it for money. There needs to be some kind of incentive in addition to the project. It all goes together. It's fun to sit there and think of characters and get them into action, then be paid for it.

There are 500 million people on Facebook, but what are they saying to each other? Not much.

I once saw Dizzy Gillespie at a live show, and it made me want to go home immediately and start writing.