A Quote by Michael Connelly
I'm not 'Mr. No-By-The-Book.' I just want to make sure the character is by the book.
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If you want to write about a person who isn't nice, people say, "This is a bad book. It's about somebody I couldn't stand." But that's not the point. You don't have to like a character to like a book. Most of the time, people would misjudge and say, "I didn't like the book." No, you didn't like the character. That doesn't make it any less interesting of a book. In fact, to me, it makes it more interesting.
I always want to make sure the book I'm writing is the best book I can deliver.
As a digital creator, there's been so much pressure to write a book because so many of my peers have done it. I've been very adamant about saying, "No! I don't want to release a book just for the sake of writing a book. I'm going to write a book when I feel like I have something to say in a book."
You will want a book which contains not man's thoughts, but God's - not a book that may amuse you, but a book that can save you - not even a book that can instruct you, but a book on which you can venture an eternity - not only a book which can give relief to your spirit, but redemption to your soul - a book which contains salvation, and conveys it to you, one which shall at once be the Saviour's book and the sinner's.
I didn't want to do a book just to do a book. I wanted to do a book that, if you should read it, you might take one thing from it. Until that was clear in my mind, I wasn't going to do one.
So it was this multi-perspective, multi-character book, and it went through all of these different manifestations. I'm not sure there was a single moment where I thought to myself, Oh, I need to write about Margaret Cavendish. She just kept taking over the book I thought I was writing.
Well, the medium of film is so different than a book that just by bringing it into visual storytelling is to change it up. I think in a book, in any book, you can have a reactive character. Some of the great novels of all time have had that, but in a film you can't do that.
But then books, as I'm sure you know, seldom prompt a course of action. Books generally just confirm you in what you have, perhaps unwittingly, decided to do already. You go to a book to have your convictions corroborated. A book, as it were, closes the book.
When we want a book exactly like the one we just finished reading, what we really want is to recreate that pleasurable experience--the headlong rush to the last page, the falling into a character's life, the deeper understanding we've gotten of a place or a time, or the feeling of reading words that are put together in a way that causes us to look at the world differently. We need to start thinking about what it is about a book that draws us in, rather than what the book is about.
Am I a guy who writes about himself in a comic book, or am I just a character in that book? If I die, will that character keep going, or will he just fade away?
It's hard to read through a book on the principles of magic without glancing at the cover periodically to make sure it isn't a book on software design.
I think I had a particular moment when I was 15 years old. I read 'Crime and Punishment,' and that book just, I think, more than any other book made me want to be a writer, 'cause it was the first time that I hadn't just entered a book, but a book had entered me.
A book, being a physical object, engenders a certain respect that zipping electrons cannot. Because you cannot turn a book off, because you have to hold it in your hands, because a book sits there, waiting for you, whether you think you want it or not, because of all these things, a book is a friend. It’s not just the content, but the physical being of a book that is there for you always and unconditionally.
I first heard the term "meta-novel" at a writer's conference in Tulsa, Oklahoma. The idea is that even though each book in a series stands alone, when read collectively they form one big ongoing novel about the main character. Each book represents its own arc: in book one of the series we meet the character and establish a meta-goal that will carry him through further books, in book two that meta-goal is tested, in book three - you get the picture.
It's just my goal to deliver the best story I can, and I want to make sure each book is better than the last, and in order to do that, I have to take chances.
'The Things They Carried' is labeled right inside the book as a work of fiction, but I did set out when I wrote the book to make it feel real... I use my own name, and I dedicated the book to characters in the book to give it the form of a war memoir.
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