Because I write a book a year, I always want to do one other project every year that's stimulating in a different way. It means you can be working but not using up your prose juice, you know?
I don't write the same book over and over - I think if I did that, I would stop writing. I couldn't write a series with the same character, and I couldn't write a romance novel over and over again that takes place at a different beach every year. That's not who I am.
For a very long time, I wrote a book a year, and was eager and willing to do it, to put bread on the table, to have my work out there. Now I must write a book every two years, and that's never enough time, either.
I think the most important lesson isn't necessarily to try and write a different book every time, or to try and brand yourself and write one specific kind of book, but to write the kind of books you love to read.
With 'Free Agent Nation,' I was figuring out how to write a book along with writing the book. Now I think I've kind of, sort of figured out how to write a book a little bit better. But the process remains not that different - slow; laborious; tiny, incremental progress each day, punctuated by feelings of despair and self-loathing.
You write differently in each book. It may appear to be similar to readers, but you're a different writer in each book because you haven't approached that subject before. And every subject brings out a different prose strain in you. Fundamentally, yes, you're contained as one writer. But you have various voices. Like a good actor.
Writing a book is like an unknown abyss, every time. Every book is different. Contrary to what unpublished writers think, it's horrible to have a book out.
Writing takes a lot of patience. It usually takes me a year to write a book. One time, it took me 14 years to write a book, not that I worked on it every day.
Every year there's a jury at the Cannes Film Festival. Getting on the jury is very competitive in France. Not because the French love cinema, but because they love to judge.
If I could have somehow been the kind of artist who could crank out two or three issues a year, that's different. That's sort of what it's all about, to get this thing out so that there's some kind of continuity. But to do a comic book every year or two was just so anti-climactic.
Ask yourself, what makes my book so different? So interesting? Don’t write to be a best seller. Write for and from your heart, not your wallet. Write something you want to be remembered by.
The book I made it big with in the U.S. was my fourth book, 'Sanctum.' My novels sell really well both there and in Canada, so once a year I do a promotional tour, visiting a different city every two days, doing book readings and signings.
Every book I've written has been a different attempt to understand something, and the success or failure of the previous one is irrelevant. I write the book I want.
I only can write a book every two years, you know. And I write very fast, but I'm not always writing every day. I needed a contact with different things, like nature, for example. I cannot be in front of a computer trying to tell a story.
Every year is different and every team is different. Your talent is different, how it gets is different, your leadership is different. That's one of the things that I really enjoy about it [coaching] - trying to maximize the potential of your team relative to how it changes every year.
Don't hire anyone - no matter what they offer - who promises you they'll sell 'X' copies of your book. Every book is different. The best any marketing company or PR firm can do for your book is make potential readers aware of it.