In suspense novels even subplots about relationships have to have conflict.

Rule one: Write about settings you're familiar with.

I liked the challenge of writing in a very concise structure in which both meaning and form are important.

It means working harder to do the research but I don't really mind - I don't think I have what it takes to chase criminals through back alleys and wade through blood at crime scenes.

I have an imagination that will go in any direction it is prodded. I pride myself on being able to become enthusiastic about anything: If you tell me to write a screenplay about cucumber farms, I'll swallow hard, and in 48 hours, I'll be in love with cucumber farms.

I went to Columbia film school; that's where I met Matthew Weisman. We then became writing partners, graduated, and moved out to Los Angeles. I didn't know a soul.

Of the things which nourish the imagination, humour is one of the most needful, and it is dangerous to limit or destroy it.

Doc Brown had a feverous imagination. He was constantly coming up with new ways and solutions to various issues, and time travel was one of them. I was just very inspired by being able to portray somebody of that sort. He's a man of tremendous energy and excitement about discovery.