British crime stories tend to be very internal, psychological, claustrophobic, very limited in terms of geography.
— Lee Child
There is nothing wrong with just telling the story.
In principle if I could not have a home I wouldn't. But not having a home would be too difficult procedurally, going from hotel to hotel, the gap of three hours where you're hungry and tired.
Most actors are small, anyway - at least compared to me.
I grew up in Birmingham, where they made useful things and made them well.
So long as readers keep reading and my publishers keep publishing, I plan to keep on writing. I'd have to be an idiot to be burnt-out in this job.
L.A. has a fantastic car scene and because the climate is so gentle, cars can last forever.
I love visiting LA. It's an endlessly fascinating city, and is, of course, America's entertainment capital. Each time I go, I fall in love with it all over again. That said, it's not the sort of place I'd want to live.
I like food, like any other guy, but it is not the main thing in my life. I can do without it.
I've discovered writers by reading books left in airplane seats and weird hotels.
I'd been a thriller reader all my life.
I just felt from personal observation that there is nothing more dislocated or alienated than a lifelong military person trying to cope in civilian life. It's like two completely separate planets.
I was in television drama, which is a first cousin to the movies, and I trust myself to make the right decisions.
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.
It's a tough case and the first time Reacher needs to recruit somebody to help him out. He uses a woman he knew in the army she's a fascinating character.
I was fired from my television job, simple as that. Well, downsized, really, a classic 1990s situation.
I have the 'thing' worked out - the trick or the surprise or the pivotal fact. Then I just start somewhere and let the story work itself out.
For me the end of a book is just as exciting as it is for a reader.
A calm environment is for after I finish work.
It's always sad if anybody you know has a personal problem.
Writing is showbusiness for shy people. That's how I see it.
I have a kind of old-fashioned, artisan approach.
The thriller is not a recent invention. It probably goes back to the dawn of storytelling.
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.
Yeah, I am pretty sure of myself.
My mother still calls me Jim and that is about it. Everyone else calls me Lee. My wife calls me whatever.
I have three desks. One empty for paperwork, one for the internet and email, and one for the writing computer.
The key to thrillers is vicarious pleasure.
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.
All of us write wish fulfillment.
So, how to stay inside the world of entertainment without actually getting another job? I felt the only logical answer was to become a novelist. So I wrote the first book - driven by some very real feelings of desperation - and it worked.
I'm opposed to censorship of any kind, especially by government. But it's plain common sense that producers should target their product with some kind of sensitivity.
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.
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.
The way to write a thriller is to ask a question at the beginning, and answer it at the end.
I need a stimulating environment to write because my books are driven at 100 miles per hour at a time.
We know we need civilization and laws and procedures, but isn't it frustrating? Wouldn't it be great if we could just do what we needed to do?
I don't know what the secret is when I am writing it - it really is a surprise to me.
You mustn't fall in love with your own hero.
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.
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.
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.
It's always tense when you move a character from a book to the screen. Always tense.
I don't need validation, recognition or praise. What I need are facts and the facts are that one of my books gets sold, somewhere in the world, every second.
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.
Practically any Western has a homesteader in trouble, and a mysterious rider shows up off the range, solves the problem over two or three days, and then rides off into the sunset.
What do I miss about the UK? Sadly, almost nothing. Maybe the midnight sun, in June in the north. That's all.
She's a reflection of my fascination with the diversity of America she's totally normal in New York, but a freak in Texas. There are dozens of such clashes in America.
I write in the afternoon, from about 12 until 6 or 7. I use an upstairs room as my office. Once I get going I keep at it, and it usually takes about six months from the first blank screen until 'The End.'
I think my books come out very visual, which is an obvious consequence.
