According to his biography, Robert Ludlum is not now nor has he ever been ”a CIA agent, a retired general, an international lawyer, a Nazi spy or a member of the Mafia.” But that doesn`t stop him from writing about them in the best-selling suspense novels that he turns out ever year or two. ”The Bourne Supremacy” (Random House) is his latest.
Q–What makes a successful suspense novel?
A–I haven`t the vaguest idea. I`ve heard people say that there`s a Ludlum formula, but I don`t know what it is. I just try to put people who are credible in terms of the human condition in extraordinary situations. I believe people are capable of extraordinary responses.
Q–One of your books, ”The Osterman Weekend,” was made into a not very successful movie. Why is that?
A–I don`t think they read the book. They sent me tape of a rough cut, my wife and I watched it, and we quickly booked passage to Honk Kong so we wouldn`t be around when it opened.
Q–Where does your inspiration come from?
A–Things that outrage or intrigue me, usually events happening in some part of the world. I`m a fairly political animal, and these things fascinate me. ”The Bourne Supremacy” began with the Sino-British negotiations that led to the Hong Kong accord. I knew there was a fascinating story to be told. One miscalculation and the Far East would have been in terrible trouble.
Q–Your plots are so convoluted. Do you know where you`re going when you begin, or do you let the characters take you where they want to go?
A–A little of both, althought I write a fairly detailed 75-page outline before I begin. I`ll even write brief scenes to see how they`ll play out. But frequently, once I begin, I never look at the outline.
Q–Which is your favorite book and why?
A–The one I`m working on, and I`m not saying this as a writer`s cliche. You have to psyche yourself up before you begin to write.
You were an actor and producer until 40 and didn`t turn to writing until then. Did the early careers help you in any way?
A–Absolutely. The theater is a wonderful place to learn the architecture of scenes and conflict. It`s also a good plce to learn about people. You can observe them both onstage and off. You also learn that rewriting is terribly important. You learn two wonderful phrases in the theater: ”That works–keep it in” and ”That doesn`t work–throw it out.” The discipline is also invaluable.
Q–Do you ever envy your characters? Would you like to be living their adventures instead of just writing about them?
A–Oh, no. It`s far too dangerous.
