Clive Cussler and Dirk Pitt Revealed By Clive Cussler with Craig ...

Generated by ABC Amber LIT Converter, http://www.processtext.com/abclit.html
InIceberg , I began to drift into convoluted plots or what I call formula B. Now I have subplots going
on that Pitt and Giordino are never aware of, even at the end.Raise the Titanic! was really the first in the
series where I had several plots going on at the same time.
The trick is always to thread the needle at the end.
I'm often amused by calls I receive from friends and relatives at all hours who are reading my latest
book. The conversation usually goes, "You son of a bitch, I'm halfway through such-and-such a book,
and there's no way you're going to pull this off."
Often it's not easy, but I never cheat the reader in the end. My readers mean everything to me. When
writing, I frequently ask myself, "What would they like to see at this point?" It's not easy getting inside the
head of the public. I learned that in advertising.
But you do develop a rapport after a time and know what it takes to deliver a fast-paced story that
keeps the book in the hands of the reader at all hours.
That's why I've always considered myself an entertainer more than a writer. Many writers try to cram
their stories down their readers' throats. Others try to get their stories across on philosophy, on the
environment or anarchy in the streets of Copenhagen.
I feel my job is to entertain the readers in such a manner that when they reach The End, they feel they
got their money's worth. No message, no inspirational passages, no political ideology, just old-fashioned
enjoyment.
A Pitt book begins with a basic "what if' concept.
For example, what if they raise the Titanic? Why?
There is something of extreme interest on the wreck. Who could afford the enormous salvage cost?
The government. Why would the government spend the enormous amount of money required?