Zitat des Tages von Michael Connelly:
The three books I've written in Florida about L.A. are my best takes on the physicality of the city, as far as description goes.
In 'Blood Work,' they made choices I wouldn't have made, but I'm not a filmmaker. I took the money, and they told the story.
I never miss L.A. because I'm there enough.
I went into journalism to learn the craft of writing and to get close to the world I wanted to write about - police and criminals, the criminal justice system.
You have to write about what scares you.
As a former reporter, I wrote 'The Scarecrow' quickly - I didn't have to think about what the character would do the way I do with Harry Bosch.
I don't miss being a reporter as a job, but I do miss the everyday interaction with the front line of law enforcement. I still have a cadre of cops who keep me up to date, but I don't have the access I used to.
I love movies. Movies have influenced me as a writer.
I learned to write crime novels by reading people I hoped to emulate: people like James Lee Burke, Lawrence Block, Joseph Wambaugh, and Sue Grafton.
My entire career writing novels was wrapped up around Harry Bosch. This character was too important to me to just hand off.
I've sold 11 of my books to Hollywood. There are all kinds of my books on shelves in Hollywood because the scripts didn't capture the characters.
In a daydream sort of way, I think it would be pretty cool to direct a movie. But I have been on movie and TV sets and know it is hard work. I like directing it in my mind. It is easier.
I feel I'm functioning at some level as a journalist because even though I write fiction, I'm trying to get the world accurate.
I think books with weak or translucent plots can survive if the character being drawn along the path is rich, interesting and multi-faceted. The opposite is not true.
I'm a disciple of Raymond Chandler, who said in his essays that there's a quality of redemption in anything that can be called art.
Now I'm writing about contemporary Los Angeles from memory. My process was to hang out, observe, research what I was writing about, and almost immediately go back to my office and write those sections. So it was a very close transfer between observation and writing.
I never write thinking, 'What would a woman do?' any more than I think, 'What would a man do?' It comes down to what would a solid detective do in these circumstances.
A good day to me is writing from 6 A.M. 'til noon with a break to take my daughter to school. After lunch, if I still feel the momentum, I'll hit it again.
When I went home at 20 to tell my parents, 'I don't want to be an engineer, I want to try and write books,' I was braced for, 'That's not gonna happen.' But I didn't get that response, and maybe it was because of my dad's experience of having an artistic dream and having to put it aside.
My literary heroes all wrote about L.A.: Joseph Wambaugh, Ross Macdonald, and Raymond Chandler were the three writers that made me want to be a writer.
As far as characters in fiction that I really admire - it's pretty strong to say you would wish that you had created another character - but I'll throw out Will Graham, the protagonist in 'Red Dragon,' a book I've read several times.
A newspaper is the center of a community, it's one of the tent poles of the community, and that's not going to be replaced by Web sites and blogs.
What is overriding that and most important is that readers generally are interested in a good character. They might be more comfortable with Harry because they think they know him, but they always seem willing to give somebody new a chance.
I realize now I could have gotten a whole book out of that and so I think that was a big mistake. But the truth is you write in the moment and with your head down and there is no way back then that I could have conceived of Harry having the longevity that he has had.
In writing on the page, you can be a bit elliptical, but on TV, you can't dance around stuff. You either show it, or you don't.
My experience as a newspaper reporter was invaluable in terms of getting me to the kind of writing I do now. It gave me a work ethic of writing every day and pushing through difficult creative times. I mean, there's no writer's block allowed in a newsroom.
I think the only boundaries are individual and personal. A writer should be free to write about anything he or she wants to, including the twin towers. I have made small references to 9/11 in my past two books.
As a reporter, you develop an ear for dialogue because it's your job to capture it accurately.
I connect to the tradition of Irish storytelling. And I think there is something - I can't put my finger on it - something genetic there. Maybe just a need to tell stories.
With age comes a greater understanding and a greater worldview.
When I was in college, there were dollar movie nights. I went to see 'The Long Goodbye,' which was based on one of Chandler's books but was contemporary and set in Los Angeles in 1973. I loved the movie, which motivated me to read the book.
I don't put a lot of description in the books because I write books the way I like to read them, and that is I like to build images and be a creative reader, and so I write that way.
I'm going to have to be impressed and feel confident in the people I'm handing a book to - or I'm not going to do it. Once you hand it to them, you're out. You have no control over it.
The characters I write about are very internal.
What brought me to the table was Raymond Chandler and, to a lesser degree, Ross Macdonald and Dashiell Hammett. I was basically inspired to want to write like the classic private-eye writers.
To get a connection to your characters, you have to put them in a situation that you can feel yourself.