How I WriteAs I write
As I write: Patterson. James Patterson.
A bestselling novelist whose new novel First Love, co-authored with Emily Raymond, is now published, speaks about how much of his lifetime is devoted to sketching and what an upcoming novelist can do differently to get ready for a carreer in the world of pop culture rather than literature."
So, a great deal has been written. Some you write alone, some with others. What is the difference when you write alone or with a co-worker? It' s not awfully different in the way that I only work with those who know that the end result has to be a title I like to put my name on.
That means good, quick typing. but I only want to write good folk literature. First thing I have to do is make the whole thing right. When you burnish too early, there are sections that you really should not be in the books, or sections that you should not be in the sections, or sections that you should not be in the sections, or sections that you should really not be in the heel.
and then you can shine forever if you want. By co-authoring I will write a long sketch, from 60-80 pages, and just about every section will cover at least 80 per cent of the sections. There are two reasons: two people are better than one, but I also want them to have the feeling that they are part of the whole design and that they helped with the design early on.
It is sometimes just "That's great, I like the way it goes", and sometimes it is "We have somehow gone off the rails. Finally, when I get the complete design from the cowriter, I will be polishing and/or writing some more designs myself, as the case may be. Is there anything you are looking for in an aspiring author who would suggest a prospective collaborationist?
It is often a person I know and I can work with easily. If I like authors who can write a scene and are willing to pay attention to common sense, then I can work with them. I' m having a whole bunch more problems with Hollywood scriptwriters who always have the feeling that they know a better way than I do.
To the co-authors, they are humans I have worked with in the past. All I can sense is that we're simple. A few have gone out to make their own fiction, but most folks like it and think it's a good one. They don't have the trouble some folks have with reporters.
I' m not asking them to keep coming back. I' m writing in graphite. I' m never getting writer's inhibition because I always have a good ten different things I'm working on, so if something doesn't work, I just change it. You tell me about Alex Cross's invention.
Have you imagined him as a serial figure, and if so, how much of his history did you create before you wrote your first one? It was Alexis, a girl, when I began to write Alex. In the first book....I said to the editor that I would like to do a TV spot and they said: "Absolutely not, we don't do TV plug.
" So, I went and made a very cheap spot - it only costs about $2,000 to do it. So, we did the spot and the script went on the bestseller lists. It is something I haven't fully discovered yet, which is an efficient way to get in touch with those who shop and shop on-line.
As I was 26, I got a call and this lady said that she was at the Edgars, the Secret Writers of America Awards, and that two night later I had to come to this hotel to attend the Commodore Hotel because I had been appointed to receive an Edgar Best First Secret Awards.
As they called me and I came up, I said, "I suppose I'm a novelist now. "If you are not made public and you tell someone what you are doing, but you have not been made public, they will say: "Oh..... why do you think you are a novelist?
" So, I was released and won this rather prestigeous prize, so I really regarded myself as a novelist at that time. For those who want to write business stories, the three precepts are still history, stories, stories, stories.