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I don't think I'd call myself a war writer, but I would probably say I'm a writer who has written about war.

Every writer has his writing technique - what he can and can't do to describe something like war or history. I'm not good at writing about those things, but I try because I feel it is necessary to write that kind of thing.

To be a good reporter, writing about war, you have to write about the people. It's not about the tanks or the RPGs or military strategy. It's always about the effect war has on civilians, on society, and how it disrupts and destroys lives.

I write as well as I can. I'm a journalist at heart, so it's the story that matters.

I wish I was the kind of writer who would go to a war zone and write about something that's meaningful and important to people, but that's not my area of coverage.

I've read a lot of war writing, even World War I writing, the British war poetry of Wilfred Owen and Siegfried Sassoon, Robert Graves's memoir 'Goodbye to All That,' and a civilian memoir, 'Testament of Youth,' by Vera Brittain.

When writing, I'm not thinking about war, even if I'm writing about it. I'm thinking about sentences, rhythm and story. So the focus, when I'm working, even if it's on a story that takes place at war, is not on bombs or bullets. It's on the story.

I end up writing about all kinds of things. I never make an attempt to write about anything in particular. I don't have a little list of topics to write about.

I wasn't always a novelist. I began my writing career as a journalist, working on an afternoon newspaper in Sydney, Australia, doing the crime beat and court reporting. Having grown up in a small country town, I felt as though I had nothing to write about.

I'd always liked to write, but I never wanted to be a writer, because it seemed a sissy occupation. It is. To this day, I find it terribly easy. And so, rather than trying to hunt up a text, I just wrote one.