An Interview with Bestselling Novelist Michael Connelly
Bestselling author of several mystery/thriller novels, including
"Blood Work," "City of Bones," and "The Narrows," Michael
Connelly has enthralled millions of readers for over a decade.
Originally a journalist for several Florida markets, Connelly
was one of three reporters short-listed for the Pulitzer Prize
for feature writing in 1986 after covering a major airline
crash. Soon thereafter, he packed up and moved to L.A. to work
as a crime reporter for the "Los Angeles Times." After three
years of working the crime beat for the Times, Connelly began
writing his first L.A.-based crime novel, "The Black Echo,"
which won the Edgar Award for best first novel, and introduced
the world to his internationally-adored protagonist, LAPD
detective Harry Bosch.
In this interview, Connelly discusses his approach to writing,
his latest Harry Bosch novel, how being an outsider as a teen
affected his writing, and why he waited thirty years to begin
writing fiction.
YOU DIDN'T START WRITING FICTION UNTIL YOU WERE THIRTY YEARS
OLD. INSTEAD, YOU WORKED AS A JOURNALIST COVERING POLICE BEATS
AND THE COURTS--AND USED THIS EXPERIENCE AS RESEARCH, KNOWING
THAT ONE DAY YOU WOULD BE READY TO WRITE FICTION. HOW DID YOU
DECIDE IT WAS FINALLY TIME?
It was sort of a natural progression. I just sort of
instinctively knew it was time to try it. It was still another
four years before I sent anything out into the world and another
two before anything was published, but I just hit this
point--maybe it was turning 30--where I told myself if I didn't
try soon I never would. I also think that by that point I had
accumulated enough images and experiences as a person and as [a]
cop reporter that I was thinking I had the ingredients and it
was time to try to make a cake. Lastly, the summer I turned 30
was the same summer I spent a lot of time with a homicide squad.
I had full access on three separate investigations. I knew I
would never get a better look at that world than that, so the
only thing left to do was write about it in fiction.
YOU'VE STATED THAT THE SINGLE BEST PIECE OF WRITING ADVICE
YOU'VE EVER GOTTEN WAS TO WRITE EVERY DAY--AND THAT THIS ADVICE
CAME TO YOU FROM WRITER HARRY CREWS DURING A LECTURE AT THE
UNIVERSITY OF FLORIDA. YOU SAID THAT THIS IS ADVICE THAT YOU
STILL LIVE BY. HOWEVER, DO YOU EVER HAVE DAYS WHEN YOU SIT DOWN
TO WRITE AND THE STORY WON'T COME TO YOU? OR DAYS WHEN YOU JUST
DON'T FEEL LIKE WRITING? IF SO, HOW OFTEN, AND HOW DO YOU DEAL
WITH THESE TIMES?
I've been doing this for a long time now and it is hard to write
every day. In the beginning I did--365 days a year. Now what I
try to do, and most times accomplish, is to write every day once
I begin a draft. So I have periods where I am not writing. These
are usually between drafts and between books. The greater
message he [Crews] was sending was, I think, that you need to
always be thinking about your story. The best way to do that is
to write every day. I believe that I am always thinking about my
story, but I don't need to write every single day of my life to
keep it churning in my mind.
YOU SAID THAT DURING YOUR YEARS OF BEING A JOURNALIST, YOU KNEW
DETECTIVES WHO COULDN'T PUT THE JOB AWAY WHEN THEY WENT HOME. AS
A NOVELIST TODAY, CAN YOU SAY THAT YOU, IN FACT, CAN? OR DO YOUR
STORIES OFTENTIMES AWAKEN INSIDE YOUR MIND WHEN YOU'RE BUSY
DOING OTHER THINGS?
I really don't want them to go away. I think the key thing to
writing is to keep it churning in your mind. This to me is more
important than actually sitting down at the computer. It's the
interior activity. So when I do get away from my writing I start
to get uncomfortable. I don't like going on vacations without
taking my work with me.
I READ IN A PAST INTERVIEW THAT YOU WERE A BIT OF AN OUTSIDER AS
A KID. DO YOU FEEL THAT THE EMOTIONS YOU EXPERIENCED AS A RESULT
OF BEING AN OUTSIDER HELPED CULTIVATE YOUR INTEREST IN BECOMING
A WRITER?
As a teenager I went to four schools in four years and that sort
of gave me outsider status. I think it made me more of an
observer than someone who is in the middle of things. This is a
good attribute to have as a writer. At the time I didn't know
that. I didn't think that I should become a writer. That
decision came later and it is only after many years [that I] can
look back and see how my writing skills may have been honed back
then without me realizing it.
PLEASE DESCRIBE YOUR WRITING ENVIRONMENT.
I like changing things so my writing environment changes from
year to year, book to book. At the moment I write in a
windowless room without a desk. I sit on a couch and write on a
laptop. Last year, I had a room with a nice water view and a
desk that weighed a ton. I had two big Apple screens on my desk
and could spread four pages across them. Usually when I start a
new project I shake things up in some way. Sometimes it's just
changing computers but sometimes it is completely changing the
environment. For me change is good. The only constant is change.
IN THE ESSAY, "CHARACTERIZATION," THAT YOU WROTE FOR "WRITING
MYSTERIES: A HANDBOOK BY THE MYSTERY WRITERS OF AMERICA"
(WRITER'S DIGEST BOOKS, 2002), YOU SAID THAT A GOOD PLOT IS
EMPTY UNLESS FILLED WITH THE BLOOD OF CHARACTER. WHY, IN YOUR
OPINION, IS STRONG CHARACTERIZATION SUCH A CRITICAL PART OF A
GOOD STORY?
I think it probably comes out of my instincts and interests as a
reader. As a reader I like to delve deep down into people and
see how they react in different situations. I have found that I
am the same way as a writer. I am more interested in interior
rather than exterior circumstances. I think it plugs the reader
into the world a lot better than plot aspects do. Of course,
this is not to say plot is not important. You run the risk of
slighting one thing when you talk at length about another. Plot
and character are both two big plates that you have to keep
spinning through a book. It's not much of an act if only one
plate is spinning.
I READ THAT YOU LIVED IN L.A. WHILE WRITING YOUR FIRST ELEVEN
NOVELS, AND THAT YOUR PROCESS WAS TO HANG OUT, OBSERVE,
RESEARCH, THEN GO BACK TO YOUR OFFICE AND WRITE THOSE SCENES
THAT WOULD INCORPORATE THE THINGS YOU SAW. BUT NOW THAT YOU'RE
BACK IN FLORIDA AND STILL WRITE ABOUT L.A., YOU'RE REQUIRED TO
WRITE FROM MEMORY. WAS THIS CHANGE IN PROCESS DIFFICULT FOR YOU?
The only constant is change. I figured it was time to shake
things up in a big way and that's what I did. It wasn't without
a lot of thought and trepidation. I knew it would require a
different way of writing but I thought after 11 books I was
ready for it. It worked out pretty well in my opinion. I felt
that some things were brand new about the process. It took the
routine out of it.
DID YOU EXPERIENCE MUCH REJECTION FROM AGENTS AND PUBLISHERS
BEFORE YOUR FIRST BOOK, "THE BLACK ECHO" (LITTLE BROWN & CO.,
1992) WAS PUBLISHED? PLEASE DESCRIBE YOUR EXPERIENCE.
Technically, I didn't get a lot of rejection. While I sent out a
blanket letter to more than a dozen agents, I ended up getting
the first agent on my list. It just took him a while to respond
and in the meantime I was rejected by a half dozen or so agents
who were further down my list. My agent then sold my book to the
third publisher he gave it to. This sounds like it was all very
quick and easy. Only at the end. As I said before, it was at
least 6 years from the point I decided to try to write a novel
to the point that my agent called and said he had sold The Black
Echo.
YOUR NEW HARRY BOSCH BOOK, "THE CLOSERS," WILL HIT BOOKSTORES IN
MAY, 2005. IN THIS BOOK, BOSCH IS ASSIGNED TO THE LAPD'S
OPEN-UNSOLVED TEAM AND IS TASKED TO INVESTIGATE A 1988 MURDER
CASE OF A SIXTEEN-YEAR-OLD GIRL. WHAT INSPIRED YOU TO WRITE THIS
BOOK, AND HOW LONG DID IT TAKE YOU TO WRITE IT?
It took about a year to write it but I am a binge writer,
meaning I start slow and gather speed. So it took a year but
more than half the book was written in the last three months. I
am always inspired by other writers and I think some of the most
important crime novels in recent years involved going back to
solve old cases as a means of showing a cross section of society
and the changes of that society. I wanted to try to do that and
so I wrote about an old murder and used the present
investigation to capture a picture of what a crime like murder
can do to a family, a place, even a killer, over time.
Additionally, I had an in. I was close to a few detectives who
work open-unsolved cases with the LAPD and they were willing to
help me try to get their world right in my novel.
IN THIS BOOK, BOSCH ABANDONS HIS LIFE AS A PRIVATE INVESTIGATOR
TO REJOIN THE LAPD. WOULD IT GIVE ANYTHING AWAY TO ASK WHAT
MOTIVATED HIM TO MAKE THIS CHANGE?
There are two answers; Harry Bosch's motivation and my
motivation. Harry had been off the job for a couple years and
realized he had made a mistake. He believes he has a mission in
life and he realized that losing the badge--despite all the
bureaucracy and politics that comes with it--inhibited his
ability to follow his mission. So he went back. In regard to me,
I found that I was going to be unable to sustain the series with
Harry working as a private eye. While the classic novels that
influenced me the most were private eye novels, I realized after
writing two of them that I would be unable to sustain the
realism I want to have in my books. Maybe it has something to do
with coming to this from journalism, but the reality is private
eyes don't solve that many murders. So I knew that if I kept
Harry as a private eye it would begin to undercut the
believability of the character and series if he was solving
murders right and left. So I decided to give him back his badge.
DO YOU HAVE A FAVORITE QUOTE?
I like what Kurt Vonnegut Jr. said about the best advice he
could give a writer. He said something along the lines of; "Make
sure that on every page everybody wants something, even if it is
only a glass of water." I think what he was saying is that it's
all about character and character is delineated by wants and
needs and how they are filled or lived with unfulfilled.
BESIDES WRITING EVERY DAY, WHAT OTHER ADVICE WOULD YOU LIKE TO
GIVE ASPIRING NOVELISTS?
I think you have to experience the world to write about it.
That's not to say you must write what you know--I don't believe
in rules like that. I am just talking about experiencing the
world. Living in order to write about living. Your mind should
be a blender. Everything you do, see and experience gets thrown
in. Throw in what you learn and what you hear. Throw in what you
read in good books and see in movie theaters. Throw in what you
see on your travels. Throw in the good and bad things in the
world. When the time is right you flick on the blender, mix
everything together and hopefully pour out a smoothie that is
all yours.
Read more about Michael Connelly and his work at
www.MichaelConnelly.com.