I have known the evenings, mornings, afternoons, I have measured out my life with coffee spoons.' That's T.S. Eliot, in case you were wondering. An oldie but a goodie. When it came to existential exhaustion, the man was one smart cookie.

If you write a good action sequence well in a novel, you're already writing it for film, because the only way to do it well is to use some of the same tricks. They're rhetorical, not visual, but it's the same move.

One of the traps or the pitfalls of writing a trilogy - or a triptych, or whatever term you want to use - is that the second book can be a long second act to get you from book one to book three, which borrows all of its energy from the first book.

What strange places our lives can carry us to, what dark passages.

Real courage is doing the right thing when nobody's looking. Doing the unpopular thing because it's what you believe, and the heck with everybody.

That literary-popular distinction is, in my view, vastly overstated. At the far poles there are clearly books that are purely commercial and purely literary, written for audiences that want to see the same thing enacted over and over and over again. But the middle is where most people read and most people write.