I love stories. When I'm writing, what I pretend subconsciously is that we're cavemen, we're sitting around the fire, and I'm telling you stories. If I bore you, you're probably going to pick up a big club and hit me over the head.
Make no mistake, adolescence is a war. No one gets out unscathed.
I would never write a memoir, because it would be too boring.
You know, people call mystery novels or thrillers 'puzzles.' I never understood that, because when I buy a puzzle, I already know what it is. It's on the box. And even if I don't, if it's a 5,000-piece puzzle of the 'Mona Lisa', it's not like I put the last piece in and go, 'I had no idea it's the 'Mona Lisa'!'
The actual writing time is a lot shorter than the thinking time. I don't do too many notes. I keep it mostly in my head. I usually start writing a new book around January, and it's due October 1.
What I want to do is tell stories about normal people in the American suburbs. I don't write the book where it's a conspiracy reaching the prime minister; I don't write the book with the big serial killer who lops off heads. My setting is a very placid pool of suburbia, family life. And within that I can make pretty big splashes.
Outlining is not writing. Coming up with ideas is not writing. Researching is not writing. Creating characters is not writing. Only writing is writing.
There are three things that make a person a writer: inspiration, perspiration and desperation.
I always say three things make a writer: inspiration, obviously; perspiration, doing the work. But the third is desperation. I'm not really fit for anything else, or to have a real job. That fear drives me. The pressure has always been self inflicted.
I don't necessarily love the sports per se, I love the stories behind them. Also in a kind of perverse way I like to study what it does to us, why we care so much. It's caring about something that's utterly meaningless.
I don't find any real rivalries with crime and thriller writers anyway. That might sound a little Pollyanna, but for the most part the writers I compete with, if you want to use that word, it's a pretty friendly rivalry. I think we all realise that the boat rises and sinks together.
I pretty much only wear Lilly Pulitzer ties because my best friend owns the company.
A novel is like a sausage. You might like the final taste but you don't want to see how it was made.
Writing my first book, I think in hindsight I went into it saying, 'It's gonna sell.' I was earning enough to scrape by sometime around a book or two before 'Tell No One.' I moved up from $50,000 to $75,000, then $150,000 for each book. I had never thought I would be doing anything else. I had enough encouragement.
I'm not a fan of self-help books - how can something be 'self-help' if the book itself is purportedly helping you?
I'm not a big sports fan.
The book I always say that influenced me, subconsciously, because at the time I didn't know I wanted to be a writer, was William Goldman's 'Marathon Man.' That was the first adult thriller that I loved. I read it when I was 15 or so, when my father gave it to me.
When I'm writing, what I pretend subconsciously is that we're cavemen, we're sitting around the fire, and I'm telling you stories. If I bore you, you're probably going to pick up a big club and hit me over the head.
The preparation for building a series of thrillers based on a single character is kind of like the preparation for becoming a parent: The best part is the idea - wink, wink.
'Caught' is a novel of forgiveness, and the past and the present - who should be and who shouldn't be forgiven. None of my books are ever just about thrills, or it won't work.