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Thomas Perry

If you'll think about various series you've read, can you think of any instance in which, say, the tenth volume of the series is notably better than the first nine? I can't.

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It's important, I think, for a writer of fiction to maintain an awareness of the pace and shape of the book as he's writing it. That is, he should be making an object, not chattering.

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I do have to earn a living, so I'm conscious of probable reactions from readers, but the most important one is still the awareness that if I'm not enjoying a story, the reader won't either.

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There are days when I intentionally don't write. For instance, I never write when I'm traveling, because travel is a situation where I can learn more by looking and listening than by working.

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The characters you refer to as predatory and unsavory are useful. They're the ones who make a novel into a thriller. They're active, and most of the common virtues, the signs of a good person, are not.

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Once you have invented a character with three dimensions and a voice, you begin to realize that some of the things you'd like him to do to further your plot are things that such a person wouldn't, or couldn't, do.

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But at the same time, the commonplace statement about them is true: every character is the hero of his own story. Each has a justification for his actions that is convincing to him. It's fun to give these people voices.

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You have very accurately described the difficulty of presenting my books on film: many of my characters are alone most of the time, and when they do talk, what they say is mostly lies. That can make for a pretty confusing film.

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