If it sounds like writing, I rewrite it.
Do you want me to tell you what I give a shit about at age sixty-five', Cullen said, 'and what I don't give a shit about?' (page 262)
My most important piece of advice to all you would-be writers: When you write, try to leave out all the parts readers skip.
I started out of course with Hemingway when I learned how to write. Until I realized Hemingway doesn't have a sense of humor. He never has anything funny in his stories.
It's my attempt to remain invisible, not distract the reader from the story with obvious writing.
I'm very much aware in the writing of dialogue, or even in the narrative too, of a rhythm. There has to be a rhythm with it β¦ Interviewers have said, you like jazz, donβt you? Because we can hear it in your writing. And I thought that was a compliment.
Writers - all writers, even screenwriters - like to make their mark. I don't think many screenwriters can write. They pass as writers.
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.
I have fun writing. I don't make it a chore. I don't have to struggle with it.
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 once saw Dizzy Gillespie at a live show, and it made me want to go home immediately and start writing.
There are cities that get by on their good looks, offer climate and scenery, views of mountains or oceans, rockbound or with palm trees. And there are cities like Detroit that have to work for a living.
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.
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 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.'
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.
