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.

The two most important things to do for self-defense are not to take a martial arts class or get a gun, but to think like the opposition and know where you're most at risk.

The City. Can't you hear it? People. Machines. Even thoughts so thick your bones feel it and your ear almost catches it.

Publishing for me is a business, not an ideology.

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.

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

If the reader cares, I dont think it matters so much whether your hero is in fact an anti-hero.