I work on a word count basis, so I have to write three thousand words a day. I can write them in the morning, I can write them in the evening; as long as they get done.
I firmly believe that you can't get a good movie without risking a bad movie. A good adaptation of your book is worth it because it is such a wonderful experience to see your world translated onto the screen.
I believe that writer's block is a symptom. It's not a disease, it's the symptom of a disease. So what I try to do is kind of do it like 'House'; write down the symptom and write down the other symptoms. Try to work backwards to figure out what the problem is.
We as artists are actively encouraged - by other authors, your agent, publisher, and society - not to think about money, strategy, how to manage your career, how to create a brand, because we're supposed to focus on the art.
I grew up in L.A., and I worked for 'The Hollywood Reporter.' I knew enough about the business to know that the usual role of the author on a movie is to get out of the way and not say anything.
Music actually inspires me a lot. I listen to a lot of music, and often I find that if I can associate mentally a song or a piece of music with a particular character or scene, it helps me get back into the head of that character.
A lot of people have asked me about some of the characters that appear in 'Clockwork Prince,' like Aloysius Starkweather and Woolsey Scott. A lot of people like Woolsey Scott, which I was really happy about because he's very fun to write.
'City of Fallen Angels' ended on a cliffhanger. That was equally loved and hated by my readership.
You know that I had heard so many times people say things like, 'You could never write 'Harry Potter' and have it be about Harriett Potter because nobody would read it; people only want to read an adventure story if it's about a boy,' and I thought, 'I don't think that's true.'