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Without books I would not have become a vivacious reader, and if you are not a reader you are not a writer.
She loved him because he had brought her back to life. She had been like a caterpillar in a cocoon, and he had drawn her out and shown her that she was a butterfly.
Having faith in God did not mean sitting back and doing nothing. It meant believing you would find success if you did your best honestly and energetically.
In my books, women often solve the problem. Even if the woman is not the hero, she's a strong character. She does change the plot. She'll often rescue the male character from some situation.
We all now tell stories by cutting from one dramatic scene to the next, whereas Victorian novelists felt free to write long passages of undramatic summary.
I use a professional researcher in New York who does all the legwork, all that stuff which would take me days and weeks of calling, waiting for people to call back.
James Bond is quite serious about his drinks and clothing and cigarettes and food and all that sort of thing. There is nothing wry or amused about James Bond.
I don't think there's any great mystery to writing female characters, so long as you talk to them. If you lived in a monastery and never met any women, maybe it would be difficult.
When you're thinking, please remember this: excessive pride is a familiar sin, but a man may just as easily frustrate the will of God through excessive humility.
Knotty theological questions are the least worrying of problems to me. Why? Because they will be resolved in the hereafter, and meanwhile they can be safely shelved.
The research is the easiest. The outline is the most fun. The first draft is the hardest, because every word of the outline has to be fleshed out. The rewrite is very satisfying.
I like to create imaginary characters and events around a real historical situation. I want readers to feel: OK, this probably didn't happen, but it might have.