Don't wait for inspiration. Learn to cultivate it.
Nick Petrie
Character drives the story, and the story drives the book. I don't think about where the action should go, or how much there should be, until it's required by the characters. When I find myself adding conflict just because I'm afraid that the reader might get bored, I know I've taken a wrong turn somewhere.
I love the beautiful distractions of the world - television and movies, video games, the Internet in general. But I try really hard to avoid them, because they don't help me become a better writer. They subtract hours from my day. And a writer's main currency is time. Time to daydream, time to walk and think, time to sit and do the work.
It's fun to figure out a way to make something happen that will get the reader involved on a visceral level. When written well, an exciting scene on the page will actually have a physical effect on the reader - your heart will beat faster, your adrenaline will start to flow.
From a purely craft standpoint, a simple character has a single motivation, while complex characters have two or three or more motivations, at least one of which is in direct conflict with another.
Reading good books is one distraction that will help you become a better writer. And writing - that's the thing - writing is what will really make you a better writer. Write bad stories until you begin to write so-so stories, which might, if you keep at it, turn to writing good stories.
I've always been drawn to the extremes of human behavior, and crime fiction is a great way to explore the lives and stories of fascinating people.
To be a carpenter or a builder or a home inspector, you have to have that kind of visual brain where you can sort of imagine something taken apart.
I find that I do my best work at the beginning of the day, but I'm rarely in a writing mood when I sit down. I'm usually somewhat sleep-deprived, and I always have a long list of other responsibilities calling my name.
I'm most interested in people who've lived life in the extreme, which is what draws me to crime fiction.
I don't outline or plan ahead when I write a novel. The more I know about what's going to happen, the less interesting it is to me; and if it's less interesting for me, it will be that way for the reader.
It's interesting what pops out of an author's subconscious when he's not thinking about it.
In crime fiction, I cut my teeth on early Robert Parker, Elmore Leonard, John D. MacDonald, and Alan Furst. I always loved the writing of Hemingway and Faulkner. Cormac McCarthy's 'Border Trilogy' has been a huge influence; I think I read those novels four times.
I try not to think too much about my writing process - I tend to feel my way forward and find more insights that way.
I'm not a big believer in the idea of genre - I'm a fan of any writer who can pull me into compelling characters and stories - but I can't imagine I'll start writing domestic dramas any time soon.
I try to write about realistic people doing realistic things. Or as close as I can get, given that I'm trying to write a suspenseful crime novel.
The minute the reader isn't sure what's happening, you're lost.
It's odd for me to compare my stuff to Lee Child's, because I'm such of fan of his, and also because it's curiously something I never did until I kept hearing about our protagonists' similarities.
