I decided quite early on that the second book would look at the early drug trade. What attracted you to the French Riviera and why do you think it makes a good Bond location? Did you visit the area for research or did you already know it well? The new book is set in the south of France in 1950. I wish I did have an inner IF to channel! But it’s more a case of immersing myself in my books (which I have done all my life anyway) and then trying to raise my game. The real work goes into attempting to capture Fleming’s style: the genius of his descriptions, his action sequences, his economy of his writing, the way he sees the world. In fact the most important thing, for me, is not to break faith with the original. I don’t feel a need to make excuses for Bond. I have no issues with changing attitudes, for example, the need to be aware of modern sensibilities. There are some challenges writing 007 but perhaps not the ones you think.
In what ways does James Bond differ from your other books and does 007 present any particular difficulties? For instance, you mentioned on twitter that Bond requires an additional round of editing, but also, do you try and channel your inner Ian Fleming when writing? You’re well known as a novelist and screenwriter. I also had a lot of fun writing Forever and a Day so I’m looking forward to seeing how it’s received.
There was such a positive response to Trigger Mortis, particularly from the real Fleming fans, that I feel I’ve earned my license, so to speak. It’s your second James Bond novel, do you feel any different from when Trigger Mortis was published? Among other things he told us how writing Bond is different from his other books, who he imagines as 007 when writing, and why he doesn’t suffer writer’s block.Ĭongratulations on the publication of Forever and a Day.
Earlier in the week we had the chance to quiz the Anthony Horowitz on his new book and find out a bit about what it takes to write a Bond novel.
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