I do want to write about Jane Whitefield again, but only when I have a good enough idea - something I've figured out about her that's news and that's worth a reader's time.
From Thomas Perry
I don't consciously do anything to maintain a unique voice.
I don't have dry seasons, because I don't allow them.
I don't think the problem is that people don't read enough mystery books, but that people don't read.
I had been writing fiction since I was in eighth grade, because I loved it.
I held a variety of jobs - most notably ten years working in universities - and kept on writing.
If I don't have a project going, I sit down and begin to write something - a character sketch, a monologue, a description of some sight, or even just a list of ideas.
If you'll think about various series you've read, can you think of any instance in which, say, the tenth volume of the series is notably better than the first nine? I can't.
It was a lot of fun, and writing a series is comfortable. It's almost like having a secure job.
It's important, I think, for a writer of fiction to maintain an awareness of the pace and shape of the book as he's writing it. That is, he should be making an object, not chattering.
2 perspectives
1 perspectives