I'm not afraid of death. Death's afraid of me.
Don't get it right - get it WRITTEN!
I have a kind of old-fashioned, artisan approach.
For men, as they get bogged down with responsibilities, commitments, bureaucracy, it is a fantasy just to think of shedding everything literally, walking away with nothing at all, and just hitting the road.
We would all love to walk up to someone and shoot them in the head, there's no doubt about that. We're too civilised to admit it, but we're happy to read about it.
British crime stories tend to be very internal, psychological, claustrophobic, very limited in terms of geography.
I had been coming to America very frequently for many, many years, so I had plenty of exposure - and maybe the best kind of exposure, because I think first impressions are very important. Maybe I notice stuff that is just subliminal to people who live here all the time.
I'm not really into gourmet food; I'm the kind of guy who just stops by a place that looks good rather than heading for the restaurant of the moment.
Male authors always take care to make their heroes at least one inch taller than they are, and considerably more muscular. Just as female authors give their heroines better hair and slimmer thighs.
You know, women are as promiscuous as men and yet, of course, people are inhibited from having an affair or a relationship because the real-world consequences are a drag.
The British regulatory system was revised, so that bigger profits were encouraged, which removed the option of big spending on programming. Quality just fell off a cliff, and all the old hands either left or were fired for being too expensive.
I do a little fact checking now and then. Other than that its impact is simply that email has revolutionized communication for me, and my website has built up a community of readers, which is a lot of fun.
Writing is showbusiness for shy people. That's how I see it.
I love Italian food but that's too generic a term for what's available now: you have to narrow it down to Tuscan, Sicilian, and so on.
I wanted readers to be genuinely unsure as to whether she's telling the truth or lying. It meant making her partly sympathetic, and partly unsympathetic, which wasn't easy.
