I'm not sure whether I've been happy. After my last book tour, I sat on my balcony with a cup of tea. I thought: 'You can't rewind the movie. I've spent more than half my life in the Middle East. There have been great moments of horror and depression and loneliness.'
I called my book 'When I Stop Talking, You'll Know I'm Dead' because that's the truth. I will keep talking until the big hand comes down from Heaven. But I am a spiritual man and I believe that even that does not have to be the end.
There should be a whole book written about that one word: country. What does that mean, country? It's such a huge umbrella. I would hope that what makes it country is that it all starts with a song. The story being told in three and a half minutes that is not being told on another station.
I often compare myself as a kid to my own grandchildren, who are around 11 and 14 now. That's the age kids usually read my book. And I remember myself; we'd gone through a world war. My father was an army officer so I was aware of what was going on. But I wasn't bombarded with images of catastrophe like many kids are today.
In between that time, I've done book narrating, you know, books on tape for Dove Audio.
I've always felt that writing can be learned but not really taught. The best thing somebody can do for you is to put the right book in your hands at the right time. I grew up in a family where the right book was always being put in my hands.
I never write in a linear way. And I tell students not to. You can only know so much about a book when you first start.
When you write non-fiction, you sit down at your desk with a pile of notebooks, newspaper clippings, and books and you research and put a book together the way you would a jigsaw puzzle.
If somebody from the past doesn't rise up from the grave and start talking to me, I haven't got a book. I have to hear that voice, the voice of the narrator. How she sounds will tell me who she is, and who she is will tell me how she will act - and that starts the plot in motion.
My mother is old-fashioned; she raised us like girls from a 19th-century book. My sisters and I are known for being the most polite girls in France. My mother wanted us to be like royalty: never ever will you be caught being rude, or superficial or being a star or whatever.
In elementary school, I read every single space book in the library about all the planets, about nebulas, about black holes. So for as long as I can remember, I've been just looking up at the stars and wondering what's out there and even what may be looking back at us.
I've never read one book about my father.
As crime writers, we put these characters, year after year, book after book, through the most horrendous trauma, dealing with grief and death and loss and violence. We can't pretend that these things don't affect these characters; they have to. If they don't, then you're essentially writing cartoons.
My to-do list is the only form of organization I have, other than my iCal. It's not all work stuff; it's a lot of movies that I want to watch sooner rather than later. I have a list that's like, 'Read an essay from this book, then this one, then go back to this one.'
Normally, I spend a week on the outline and take two weeks to write the book.
More than working toward the book's climax, I work toward the denouement. As a reader and a writer, that's where I find the real satisfaction.
Becoming a YA author was actually a very lucky accident. When I wrote the 'Queen of Everything,' I thought it was a book for adults.
I read a lot, very passionately, from the time I was very young, but it was a constant battle; my mother would more or less let me be, but with my father, I was always searching for a place where he wouldn't find me. Whenever he saw me reading, he would tell me to put the book down and go outside, act like a normal person.
Radio Shack is meeting the fate of many other stores that were wildly popular in the twentieth century, including record stores, comic book stores, bookstores and video stores.
I was extraordinarily lucky. I wrote a book because I wanted to see if I could write a mystery. Someone nagged me into sending it to a contest, which it won, after which I was offered a two-book contract, thus requiring the writing of a second book.
My flight time is important to me; I actually prefer a longer flight to a short one. That way I have time to read a book, watch movies, and think about new dishes.
I'm a huge classics fan. I love Ernest Hemingway and J.D. Salinger. I'm that guy who rereads a book before I read newer stuff, which is probably not all that progressive, and it's not really going to make me a better reader. I'm like, 'Oh, my God, you should read To Kill a Mockingbird.'
When I realized I wanted to do more writing and less traveling around the world teaching live seminars, I decided to write the first 'Chicken Soup for the Soul(R)' book. I knew I wanted to have 100 stories in the book, so I wrote or edited two stories a week for a year.
What makes a publisher decide to market a book to a particular audience is not the subject matter but the style.
When somebody says, 'This must be a children's book,' basically they're saying, 'You must be a child.' And so my answer is, 'Well, yes, I guess I am a child.' But I don't think of myself that way.
Some people don't like my fiction, because they prefer the nonfiction. But moving around keeps the work fresh for me and, hopefully, for my one or two readers who follow me from book to book!
I know, speaking for myself, no matter what I'm able to do, no matter what book comes out and ends up on paper, I always had something bigger and grander in my head.
With reading, I was very lucky. I had a mother who read to me, not because she had time - she was a busy woman - but she found 10 minutes to come and sit on my bed with a book.
Before 'Wings' came out, I told a few people that at the end of book one, readers should think Laurel made the right choice. Then, at the end of 'Spells,' they should understand why Laurel made the choice she did.
Each author has his or her own voice. I read each book slowly so I can see the patterns they use to spread out the garden of earthly delights.
I'm about to read Scott Turow's 'Innocent.' I've been hungry for this book since he first told me it was in the works. I'm a serious Turow fan.
I'd quite like to write a book about comics, actually. But trying to write about comics as literature, which I don't think anyone's really done before. Sometimes they're more like fan books, and I'd quite like to write one about the Marvel universe over the last 50 years. It's an unprecedented achievement to create that length of continuity.
Creation stories, so central in the religions of the Middle East, play a surprisingly marginal part in Greek myth. The Greeks had nothing to set alongside the resounding 'In the beginning' in the book of Genesis, where one eternal God creates the universe out of nothing.
I don't do a comic book thinking there is a movie. I just want it to be as good a comic book as it can be.
I thought, 'Nobody wants this book, and I'm an idiot for having worked on it so hard.' But to succeed in writing, you must be willing to look stupid for a long time. 'Pachinko' took so long because I got it wrong so many times.
With a young-adult series, you need to get a lot of books out on the market quickly. Teenagers aren't going to wait years and years for the next book.
