I write and perform for the feeling it gives me, and the experience of being connected with a room full of people to the vibration of music
I write both, as you know, dozens of ecological and social scientific and historical works, dozens of novels. It's hard to describe a novel that grapples with the horrors of World War II as anything but grueling. But Codex Orféo is somehow...well, I hope, riveting for readers. Deeply provocative. Cinematic in a nearly surreal sense.
The key research I usually apply that allows me to understand the roles that I take on, starts with the script in front of me, and what it offers. I try to absorb as much of it as I can, in the time that I have to study it, and I like to change things up, if I have a choice in the matter... and I usually don't. I dream on it, write about and find out who the individual is, and try to bring him to life with as much human and truth as I can.
I started to write about science and medicine at the Washington Post, in the early days of the AIDS epidemic.
One of the things that is always difficult about a collaboration is that you don't necessarily find the same thing funny. And so the challenge becomes, how do you tell the other person that you don't think something's funny? The best collaborations tend to be when you are willing to be told that. But there's also ego involved, and so there's a lot of frustration in knowing that you're writing something, and the other person, on some level, needs to think that it's funny.
I'm writing a memoir. I'm four pages in. I start with my first memory, which is kicking my uncle in the balls. I was four.
I knew that if I was going to write a book, I was going to have to read one, too.
I have a huge music library and deliberately choose the piece of music to match the piece I'm writing. So, every book I write has its own "soundtrack."
Making sure that the geography and timelines work is always the hardest part of writing. But you owe it to the readers to get it right!
I am of the generation of writers who can get instant feedback from readers within hours of publication. The fan forum is extraordinary - readers from all over the world coming together to discuss, argue and debate scenes and characters from a novel. They add a layer to the story that I cannot write and yes, I will participate in that conversation and answer questions. After all, they are the people I'm writing for and their enthusiasm and questions really pushes me to raise the bar.
The most reward experience is having another writer come up to you and say that they started writing because they read my books. That is how writing as a profession continues: readers becomes writers who inspire new readers.
I have been very lucky: my writing has taken me across the world, and I have seen some extraordinary sites and sights.
My advice is to write about what you are interested in. If you read science fiction and fantasy, then write in that genre. If you read romance novels, then try writing one.
The secret to writing is writing. Lots of people I know talk about writing. They will tell me about the book they are going to write, or are thinking about writing, or may write some day in the future. And I know they will never do it. If someone is serious about writing, then they will sit down every day and put some words down on paper.
I'm always reading. Here's where an ebook reader really comes into its own. When I travel, it allows me to carry a huge chunk of my library with me. Usually, when I am writing one project, I am researching the next or beginning to pull together the material for the book after that.
I've published over 100 books - and that is divided about 50/50 adult and young adult. Lately, I have been writing more YA, which is such a great genre to write it. I don't have a favourite (I usually say it's the last book I've written), but certain books do stick in the mind. My very first YA novel, The Children of Lir, will always be special to me, and, of course The Alchemyst because it was a series I'd wanted to write for ages.
Some writing courses will advise you to write what you know. I've always thought this is very odd advice ... because it means, for example, that I should not be writing about Nicholas Flamel, because I didn't live in France in the 15th Century, I was not an alchemyst, am not immortal (despite the rumours) and do not know magic.
I am a great believer that all the primary research has to be done before principle writing begins. I'm a huge advocate of plotting.
When it is going well, it is the best job [writing] in the world. For those few hours, you are god, in control of everything. However, for me, the great joy of writing is that it has allowed me to travel the world in search of stories.
I'm always writing - its what I like to do. But when I'm not writing, I'm reading.
The research. It is always the best part of writing. And, of course, it is the great excuse to travel.
I published my first book in 1982 - a collection of Irish folklore called Irish Folk & Fairy Tales. It is still in print today. My first young adult book was published a couple of years later, and I've been writing in both genres ever since.
In fact, writing for younger adults is tougher. They remember everything and if they spot a problem, they'll be sure to let you know.
I was born and raised in Dublin, Ireland and it is still home to me. My writing has taken me all over the world, but this is the place I come back to and the place where I find it easiest to write.
I spend all my time trying to keep thoughts away and ignore them....But here you are, trying to remember your own life, writing your thoughts down so that you don't forget. I suddenly realized what it would be like not to know, not to remember.
