Chris Pavone Quotes
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Before I wrote my first novel, 'The Expats,' I spent nearly two decades at various arms of publishing houses such as Random House, Workman, and HarperCollins, mostly as an acquisitions editor. But a more accurate title for that job might be rejection editor: while I acquired maybe a dozen projects per year, I'd reject hundreds upon hundreds.
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Eventually, I realised that I wanted to try to create something myself, and that's what writing novels is. Not because I wanted to put myself in front of the world, but because I wanted to create something that would go out into the world.
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Although no one loves a typo, it's close to impossible to eradicate every single little mistake in a manuscript.
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I always wanted to write. But honestly I'm glad I didn't do it back when I was twenty-five or so, when it's now clear to me that I was a very poor writer and could've ruined my career before it even started.
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Although I did admire David Foster Wallace's final unfinished novel about boredom, I'm no DFW, and I want my books to be exciting, not boring.
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I'm concerned, as I guess all middle-aged people are, about the younger generations' level of literacy.
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Sometimes, I had very little - if any - idea for whom I was really working: at the end of the day, who reaped the profits? Was it a privately controlled German foundation or a global array of stockholders? A middle-class guy on the Upper West Side or Rupert Murdoch? Were we pursuing mere profit, or self-perpetuation, or something bigger?
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As an unpublished, nonprofessional writer working on my first novel, I nevertheless had access to extremely talented people who would help make my manuscript better, people who've made careers out of providing careful, constructive criticism to writers. I'm tremendously grateful to them.
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I use an e-reader when I'm traveling: I love carrying dozens of books on a small lightweight device, and I'm still amazed every time I purchase and immediately start reading a new title without leaving my hotel room - in another country!
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There's so much published by so many different publishers. Most of the time, I don't have to confront that, but walking into a conference center filled with books - and people buying them or not buying them, being interested or not interested in them - that's just overwhelming to me now.
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Any setting can be a good setting for a novel.
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One of the epiphanies I had was that I got into publishing because I love literature.
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I spend a huge amount of time writing about the book instead of writing the actual text.
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I know that 'The Accident' is not a completely accurate reflection of the reality of the book publishing world, which, like nearly any other business, consists mostly of people sitting in small offices staring at computer screens or reading or trying to stay awake in meetings.
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I live in Greenwich Village in New York City, but I rarely write at home, where there's too much else to do.
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Writing is a solitary occupation; we don't really have any colleagues.
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I try to construct each of my novels around one central theme - core tensions shared by the characters.
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Expats are a self-selecting group of outgoing, confident people - if you're not those things, you probably don't choose this adventure - and the lifestyle is very conducive to making fast, close friends.
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What is it we want out of travel? Is it to take snapshots of ourselves in front of famous monuments, surrounded by other tourists? To eat unfamiliar food chosen from unintelligible menus? To earn frequent-flier miles? No. It's to glimpse what life is like somewhere else.
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In most espionage novels, the characters risk their lives trying to save somebody or while protecting a nation from some threat. In 'The Travelers,' that's not what's going on. I used espionage as a device to heighten the characters' personal dramas.