I think any writer is a fool if he doesn't do it for money. There needs to be some kind of incentive in addition to the project. It all goes together. It's fun to sit there and think of characters and get them into action, then be paid for it. I can't believe it when writers tell me 'I don't want to show my work to anybody'.

I don't judge in my books. I don't have to have the antagonist get shot or the protagonist win. It's just how it comes out. I'm just telling a story.

There are cities that get by on their good looks, offer climate and scenery, views of mountains or oceans, rockbound or with palm trees. And there are cities like Detroit that have to work for a living.

I've quit writing screenplay [adaptations]. It's too much work. I don't look at writing a novel as work, because I only have to please myself. I have a good time sitting here by myself, thinking up situations and characters, getting them to talk - it's so satisfying. But screenwriting's different. You might think you're writing for yourself, but there are too many other people to please.

There's nothing like work to take your mind off your worries.

I don't get in a position to be frightened. I don't do anything dangerous, and I always pay my bills.

Don't go into great detail describing places and things, unless you're ­Margaret Atwood and can paint scenes with language. You don't want descriptions that bring the action, the flow of the story, to a standstill.