I don't need all that much - I just need to know who my characters are and what kind of jam they're going to get into, and I'll write myself out of their jam.

The more I hung out with detective squads, the more there was always one guy or two guys or a woman who had a case that they were the primary on years ago, it was never solved, and they take that case into their retirements.

I think the definition of an artist is not necessarily tied into excellence or talent; an artist is somebody who, if you took away their freedom to make art, would lose their mind.

If you're writing a book that takes place in New York in the moment, you can't not write about 9-11; you can't not integrate it. My main character's view is the Statue of Liberty and the Trade Center. It doesn't have to take over, but it has to be acknowledged.

The kind of event on a conveyor belt that causes a fire occurs in a variety of industrial environments, not uniquely in coal environments.

The bigger the issue, the smaller you write. Remember that. You don't write about the horrors of war. No. You write about a kid's burnt socks lying on the road. You pick the smallest manageable part of the big thing, and you work off the resonance.

I'd love to be a saxophonist. I don't know why, but I pretend I'm the saxophonist when I listen to music. I have about as much chance playing the sax as I do learning how to fly.