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There is no better test of character than when you're tossed into crisis. That's when we see one's true colors shine through. So I try my best to make my characters personally involved in the plot, in a way that stresses them and tests them.

When you are on assignment, you stick to the facts, limit your vision, and often cut out the most revealing material. There is no texture, no shades of gray. In fiction, you can bring the reader on the perilous journey with your characters as they discover that war is more like a wilderness of mirrors, full of danger and uncertainty.

If you've got a camera, go to a war zone and tell a story.

We have been telling and hearing and reading war stories for millennia. Their endurance may lie in their impossibility; they can never be complete, for the tensions and the contradictions within them will never be eliminated or resolved. That challenge is essential to their power and their attraction. War stories matter.

The test of any man lies in action.

I think a lot of people, including me, clammed up when a civilian asked about battle, about war. It was fashionable. One of the most impressive ways to tell your war story is to refuse to tell it, you know. Civilians would then have to imagine all kinds of deeds of derring-do.

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.

For one thing, I don't think that anybody in any war thinks of themselves as a hero.

When you're a war correspondent, the reader is for you because the reader is saying, 'Gee, I wouldn't want to be doing that.' They're on your side.

In war, people find themselves in extraordinary circumstances, and in those circumstances, they act in extraordinary ways. In war, you see people at their very best and their very worst, acting in ways you could never imagine. War is human drama at its most epic and most intense.