I think pirates, like astronauts, particularly for a boy, are always kind of worth thinking about.
One has to adopt a sort of Zen calm, in which you know you wrote the best book that you could at the time.
I wrote a comedy, which hopefully [Rick director] Curtiss Clayton will bring to the screen, that I thought was the antithesis of all my work. I thought it was light and sunshiny, and Mr. Clayton reminded me that it is the story of a woman kidnapped and forced to do things against her will, which is not what most people think of as light and sunshiny.
It seems to me that oftentimes in young relationships once there's a problem of some significance then it's almost like they're both racing for the dumper buzzer.
My work is very dear to me, and certainly I have had all the emotional highs and lows that go with trying to get it to an audience. But I do have some kind of detachment that seems somewhat unusual in my trade. I'm a writer who writes every day. I don't have a period of months where I can't get anything done and I wander around tearing my hair out. When I come back from a book tour, for instance, I might have one day where I sleep late and then check my e-mail, and then go for a walk, and then the next day I'm really itching to get back at writing a story.
For every teenager I know, having a phone is a mixed blessing, because your parents can press a button and figure out where you are.
My general writing preface is to write an outline and then ignore about half of it, both on a micro level with the individual book, and on a macro level with the series as a whole, and that's pretty much what's happened.
I was never a fan of anything, and yet some people are fans of my books. That's a bit odd. But I like meeting them.
Like most writers, I look back on all of my finished works with utter regret, and the trouble with writing a series of novels is that you have to go back and read them, and make sure that you haven't forgotten anything you've created, and then when you do that, you're faced with your own mistakes on every trick, from the wrong word in places to entirely the wrong incident.
With the publishing of The Basic Eight, it was often assumed that I was really immature and callow, and with the publishing of Watch Your Mouth, it was assumed that I was oversexualized, and with Lemony Snicket, it's often assumed that I'm erudite and depressed. But all the voices more or less came naturally to me.
When you start reading nonfiction books about piracy, you realize that it's actually just a history of desperate people.
I've never had a musical career. So I think it's been unaffected. I play the accordion. In terms of thinking of it as a musical career, I think it's sort of like calling yourself an astronaut because you have a shiny suit.
I do think of emotions as being on a circular path, so you can feel terrible and terrible and terrible, and then all of a sudden it becomes quite funny.
