After I sold my screenplay adaptation of 'Rain Fall' to Sony Pictures, I had no more creative involvement.

The job of the screenplay is to identify and extract the essence of the story from the novel and reconfigure it for the screen, maintaining its essence in a different vehicle.

From the outside, the CIA seems pretty exotic, but from the inside, it's a big bureaucratic place. Think 'post office with spies.'

I have a long-standing interest in what I like to think of as "forbidden knowledge": methods of unarmed killing, lock picking, breaking and entry, spy stuff, and other things that the government wants only a few select individuals to know.

When I wrote my eighth thriller, Inside Out, in 2009, the villains were a group of CIA and other government officials who colluded to destroy a series of tapes depicting Americans torturing war-on-terror prisoners.

It would be awesome to be so impressive that we could sway people to our way of thinking just by declaiming our thoughts, but probably most of us lack such gravitas. Luckily, there's something even better: evidence, logic, and argument.

I can understand the allure of a venerable Big Six imprint, of a shot at the New York Times list, of a publisher-sponsored book tour, of seeing your hardbacks in bookstores and your paperbacks in supermarkets.