I think the next thing I publish will be for children, but I don’t really want to be held to that because I also know what my next book for adults will be, and I really like that, too, so it depends. I’ve always had more than one thing going.

Each book I’ve done somehow finds its own unique form, a specific way it has to be written, and once I find it, I stick with it.

I wrote a few children’s books… not on purpose.

I always have a basic plot outline, but I like to leave some things to be decided while I write.

Mum had done everything you need to educate a kid. She made me a kid who likes books and she told me about ‚Wind in the Willows‘ and read it and I thought this is weird, Rat, Mole, Toad and my first ever Bolshie thought – you know about ‚The Wind in the Willows.‘

Sporadic thoughts will pop into my head and I’ll have to go write something down, and the next thing you know I’ve written a whole song in an hour.

I talk to my readers on social networking sites, but I never tell them what the book is about. Writing is lonely, so from time to time I talk to them on the Internet. It’s like chatting at a bar without leaving your office. I talk with them about a lot of things other than my books.

Easy reading is damn hard writing. But if it’s right, it’s easy. It’s the other way round, too. If it’s slovenly written, then it’s hard to read. It doesn’t give the reader what the careful writer can give the reader.

I write the paragraph, then I’m crossing out, changing words, trying to improve it. When it seems more or less OK, then I type it up because sometimes it’s almost illegible, and if I wait, I might not be able to read it the next day.

Writing is such a strange, utterly mysterious process. First, there was nothing; then, suddenly, there was something. I don’t know where thoughts are born. Where the hell does it come from? I don’t know. I really don’t know.

It’s not possible to advise a young writer because every young writer is so different. You might say, ‚Read,‘ but a writer can read too much and be paralyzed. Or, ‚Don’t read, don’t think, just write,‘ and the result could be a mountain of drivel.

I’ve often made revisions at that stage that turned out to be mistakes because I wasn’t really in the rhythm of the story anymore. I see a little bit of writing that doesn’t seem to be doing as much work as it should be doing, and right at the end, I will sort of rev it up. But when I finally read the story again, it seems a bit obtrusive.

While working on my first five books, I kept wishing I was writing a novel. I thought until you wrote a novel, you weren’t taken seriously as a writer. It used to trouble me a lot, but nothing troubles me now, and besides, there has been a change. I think short stories are taken more seriously now than they were.

I never start out with any kind of connecting theme or plan. Everything just falls the way it falls. I don’t ever think about what kind of fiction I write or what I am writing about or what I am trying to write about. When I’m writing, what I do is I think about a story that I want to tell.

‚For Whom the Bell Tolls‘ was a problem which I carried on each day. I knew what was going to happen in principle. But I invented what happened each day I wrote.

I rewrote the ending to ‚Farewell to Arms,‘ the last page of it, thirty-nine times before I was satisfied.

I don’t plot my books rigidly, follow a preconceived structure. A novel mustn’t be a closed system – it’s a quest.

When asked, ‚How do you write?‘ I invariably answer, ‚one word at a time.‘

I always rewrite each day up to the point where I stopped. When it is all finished, naturally you go over it. You get another chance to correct and rewrite when someone else types it, and you see it clean in type. The last chance is in the proofs. You’re grateful for these different chances.

Writers have to put up with this editor thing; it is ageless and eternal and wrong.

I start each book when it’s ready and never before.

Money is an unavoidable consequence, but it isn’t the reason I write; if it was, I wouldn’t have written any of the YA books, because advances in that field are small compared to what I’d got now for an ‚adult‘ DW.

Some writers sit down without a thought of what they are going to say, and they go through draft after draft.

I’m not interested in cutting the feet off my characters or stretching them to make them fit my certain political view.

Often I sort of work up and down the manuscript. I sometimes used to go ahead of myself to see what was going to happen next, to make certain it fits what was going to be happening soon.

A ratio of failures is built into the process of writing. The wastebasket has evolved for a reason.

I have not worked out my poems with a careful will, falling rather on haphazard and blind formulation of wordage, a more flowing concept, in a hope for a more new and lively path. I do personalize at times, but this only for the grace and elan of the dance.

I stay out of politics because if I begin thinking too much about politics, I’ll probably… drop writing children’s books and become a political cartoonist again.

I think I work much harder on the children’s books. I suppose I enjoy that. I find it interesting that although there are more than 30 books in the Discworld series, it is the four that were written for children which have won the awards. I’ve never been quite certain why this is.

When I start to write, I don’t have any plan at all. I just wait for the story to come.

The writing process, the way I go about it is I do whatever the beat feels like, whatever the beat is telling me to do. Usually when the beat comes on, I think of a hook or the subject I want to rap about almost instantly. Within four, eight bars of it playing I’m just like, ‚Oh, OK. This is what I wanna do‘.

I don’t even like showing my stuff to publishers and editors much.

Sometimes I get the start of a story from a memory, an anecdote, but that gets lost and is usually unrecognizable in the final story.

I cannot claim to have had a hard time publishing.

I’m sure most parents read to their children to explain what certain things mean. So books are a good way to convey a message to anybody. Everybody reads.

The thing is, ‚Discworld‘ had been going on for a very long time, and I’ve written children’s books as well. Usually when people have a really big series they franchise it, which I thought is a bit of a no-no, so I thought what I’d do is I’d franchise it to myself.