For a while I just couldn't imagine that there was a place for me in nonfiction. I looked around at what we were calling nonfiction and I thought, "Maybe you do have to go to poetry in order to do this other weird thing in nonfiction."
As I started to read nonfiction in the mid '70s, I discovered, holy cow, there was a lot of imaginative nonfiction. Not the kind where people use composite characters and invented quotes. I hate that kind of nonfiction. But imaginative in the sense that good writing and unexpected structure and vivid reporting could be combined with presenting facts.
I think, about the distinction between fiction and nonfiction. Fiction is not really about anything: it is what it is. But nonfiction - and you see this particularly with something like the BBC Samuel Johnson Prize for Non-Fiction - nonfiction we define in relation to what it's about. So, Stalingrad by Antony Beevor. It's "about" Stalingrad. Or, here's a book by Claire Tomalin: it's "about" Charles Dickens.
There's always a slight tension when you sell a book to Hollywood, especially a nonfiction book. The author wants his story told intact; the nonfiction author wants it told accurately.
What I don't like is constructing a book that fits in with any kind of generic template, whether it's fiction or nonfiction.
I coauthored my first nonfiction book by the time I was 25. I have been involved in nonfiction documentaries, newspapers, TV and internet since that time.
Because the kind of nonfiction I write has a plot, the events and transactions that make up a life, nonfiction offers me a break from plotting.
I've found that in fiction - and this is just the kind of writer I am - I can't really work from an outline. I have a vague idea of the characters at the beginning of the book, and then I have a vague idea of whatever the end of the book will be, but I can't approach creative nonfiction like that.
I think what's happening with book advances is something that most of the world just doesn't fully appreciate, especially when it comes to nonfiction, because writing a book of investigative journalism is an expensive endeavor, and the system works best if you have publishers making bets on authors.
I think the combatant is always burdened with returning and making his way through his past. And that we as citizens have a responsibility to those guys upon return. We have to make some kind of an attempt to understand what their life is like.
One of my rigid goals is to keep each book under 300 pages because I think so much nonfiction is literally weighty that people don't get through these books ... If people don't finish your book, then they don't know what you're talking about.
People must not attempt to impose their own 'truth' on others. The right to profess the truth must always be upheld, but not in a way that involves contempt for those who may think differently. Truth imposes itself solely by the force of its own truth.
I'm not a poet, but I was in the poetry program. And I'm also not much of a nonfiction writer, at least not in the standard sense of nonfiction, nor especially in the way we were thinking about nonfiction back then, in the late 90s.
In college, I wrote newspaper articles and songs. Then, on my 21st birthday, I sold my first book. It was a nonfiction book about women pirates - 'Pirates in Petticoats.' After that, I was a book writer for good.
I love nonfiction the most. It's hard to find a good nonfiction story, and that's why I'm not as prolific, I guess, as a lot of people. They're hard to find. I love the nonfiction writer Ben Macintyre. I think he's terrific at the form of telling a story in a cinematic way.
I feel that if I'm writing a book, it has to be an honest book: it has to say what I believe to be the truth, so that's kind of warts and all.