I'm very emotional. I do feel stuff, for better or worse.

I read some, and then visited with people involved in this curious, exciting and somewhat misunderstood sub-culture. I met with a fang maker, who offered to fit me for an exquisite pair.

A lot of people like the idea of eternal love and eternal romance. The notion of love that is more profound and deeper because it is eternal is very powerful.

I have a folder in my office with about 400 ideas in it. So it will take me another 40 years to get through those.

When I was 26, I wrote my first mystery, 'The Thomas Berryman Number', and it was turned down by, I don't know, 31 publishers. Then it won an Edgar for Best First Novel. Go figure.

I'm a very good storyteller; I have a lot of compassion for people. That's very useful for a novelist. A lot of novelists are snots. They're just mean people. I'm not a terribly skilled stylist, nor do I want to be. I want a lot of people to read one of my stories and go, 'That was pretty cool.'

I'm big on having a blistering pace. That's one of the hallmarks of what I do, and that's not easy. I never blow up cars and things like that, so it's something else that keeps the suspense flowing. I try not to write a chapter that isn't going to turn on the movie projector in your head.

Ultimately, a great thriller is a roller coaster ride. I like to think that's a promise I have never failed to keep, and one that I'd say has served my books well.

I've always been into 'fast-paced, don't bore 'em, keep it moving along, stick with the story.' You know: tell a story the way I want to hear a story. I find it more rewarding to write for kids, but I also find it a little easier, because you can just let loose a little bit more in terms of fantasy and stuff.

As we go through this transition where a lot more people will be reading on devices, nobody is paying enough attention to make sure it's a smooth transition. I believe we still need places where people can go to handle, hold and talk about books, get information about what books are out there, and so on.

I guess I write four or five hours a day, but I do it seven days a week. It's very disciplined, yes, but it's joy for me.

I don't think about an industry or building things, but somebody says you're lucky if you find something you like to do, which is true, and then it's a miracle if you get paid to do it.

People like to talk more than they like to act. They like to sit there and complain and vent. Somehow they think that changes things, when it doesn't.

I don't get a chance to be funny with the thrillers. I like to be funny, and I think I am really funny. So with 'Middle School: The Worst Years of My Life', it was fun to let loose.

I did know that the book would end with a mind-boggling trial, but I didn't know exactly how it would turn out. I like a little suspense when I am writing, too.

Let's face it: Most of us don't realize it, but we are failing our kids as reading role models. The best role models are in the home: brothers, fathers, grandfathers; mothers, sisters, grandmothers. Moms and dads, it's important that your kids see you reading. Not just books - reading the newspaper is good, too.

In my office in Florida I have, I think, 30 manuscript piles around the room. Some are screenplays or comic books or graphic novels. Some are almost done. Some I'm rewriting. If I'm working with a co-writer, they'll usually write the first draft. And then I write subsequent drafts.

My style is colloquial storytelling. It's the way we tell stories to one another - it's not writerly, it's not overdone.

I love to tell stories. It's a delight for me.

I don't think of myself as a writer.

I don't believe in lecturing people. It's much more effective to present reading as a fun, rewarding pastime.

Schools and parents can team up to find books that kids will really get excited about - that will make them say, 'That was a great experience. Now I know why people get excited about reading.'

There are terrific models for success with reluctant readers, but many school systems and state governments need to set aside their 'not invented here' and 'we have more important problems than education' attitudes.

Kids don't read as much as you'd like them to, just in terms of seeing the world from different perspectives. I mean, that's the great thing about books, still. Here's television, here are the movies, and it's pretty limited in terms of the perspectives.

If the White House could do more to tell parents that getting children reading is their business too, we'd see a big difference. Hollywood and the NBA or NFL could step in, too. In England they have an event called Book Day, where every child receives a pound to use at any bookstore.

Commercial books don't even get covered. The reason why so many book reviews go out of business is because they cover a lot of stuff that nobody cares about. Imagine if the movie pages covered none of the big movies and all they covered were movies that you couldn't even find in the theater?

This summer, I'll be bringing out a mystery that involves a young lawyer and a court scene the likes of which I don't think you've ever seen. Hollywood said this is James Patterson meets John Grisham.

I always figured there would be a kid audience and an adult audience, and there is. That's true for 'Hunger Games' and 'Twilight' and 'Harry Potter.' And 'Maximum Ride,' for sure. In particular what happens is a lot of parents share the books with their kids, and the mom has read it, and the kids, and they talk about it.

The subject for a lot of non-fiction is very emotional, but if you read it, it's the most boring, dry stuff. I wanted 'Torn Apart' to be extremely accessible and readable.

I grew up in a house full of women: my mother, grandmother, three sisters, and two female cats. And I still have the buzz of their conversations in my head. As an adult, I have more female friends than male ones: I just love the way that women talk.

I was always a good student, but I didn't read that much until I was 18 and I was working my way through college.