There are interactions with characters within the game which I think are pretty neatly done considering the limitations that you have to work with. I mean, a computer can't really generate a character that talks back and forth with you successfully.

Research is of considerable importance in certain fields, such as science and history.

I suspect that writer's block afflicts mainly people who have some stable and ample source of income outside of writing. So far it hasn't been a problem.

There's a big overlap with the people you meet at the fantasy and science fiction cons.

The comments I most appreciate come from ordinary readers who've happened on one of my books at some time of stress in their lives, and who actually credit the book with helping them through a bad time. It's happened a few times in forty years.

The same tools that make any writer good, plus a cheerful willingness to suspend belief.

At this stage, my chief professional goal is simply to keep on writing and making a living at it.

I doubt I'll ever do another book collaboration; I've been spoiled. Roger and I both happened to move to New Mexico at about the same time, when we each had a family of young kids to raise. Socializing seemed to lead naturally to working together.

The advice would be the same for any kind of fiction. Keep writing, and keep sending things out, not to friends and relatives, but to people who have the power to buy. A lot of additional, useful tips could be added, but this is fundamental.

Mysteries I read for fun, so I will probably never write one, for fear of spoiling the fun.

Probably all the books I've ever written have been efforts to define the boundaries of humanity.

And what we know, or think we know, about the universe of space and time is changing very quickly.

I wouldn't like to just do one story or one type of stories all the time.

My gut feeling is that paper and ink are going to be with us for a long time yet, and in substantial quantities, though certainly books are now going to be available in other forms.

I had immediate success in the sense that I sold something right off the bat. I thought it was going to be a piece of cake and it really wasn't. I have drawers full of - or I did have - drawers full of rejection slips.

Actually ideas are everywhere. It's the paperwork, that is, sitting down and thinking them into a coherent story, trying to find just the right words, that can and usually does get to be labor.

I guess if one set of my books was selling like Stephen King's, and the other wasn't selling at all, editors would want me to do the ones that sold like Stephen King's. But they seem to be willing to let me pick what I want to do next.

I started writing seriously about 1960, at the fairly advanced age of 30.

The Swords were still interesting but by then a cast of characters had started to appear and go on from book to book, and other things about the world began to feel constricting. And there were other things I wanted to do, so I closed the series up and stopped it.

I don't know why a computer game can't be an art form just as a puppet show or an opera is. I'm still interested in computer games as something I would like to work on someday.

I have some good stories yet to tell.

There are interactions with characters within the game which I think are pretty neatly done considering the limitations that you have to work with. I mean, a computer can't really generate a character that talks back and forth with you successfully.

The Berserkers have been with me for about forty years, and we're not done yet.

I finally decided one day, reading science fiction magazines of the time, I could do at least as well as some of these people are doing. So I finally made a serious effort.

I wrote speculative fiction because I loved to read it, and thought I could do better than some of the people who were getting published.

More immediately, I'm currently working on another Dracula in which there will be connections with ancient Egypt. That's about as far as I want to go in commenting on current work.

If people ask me for the ingredients of success, I say one is talent, two is stubbornness or determination, and third is sheer luck. You have to have two out of the three. Any two will probably do.

Only towards the end of this process are any of the chapters in fully readable condition, a state of affairs that used to alarm my wife. But Joan's got used to it.

In this watering-place I acted an heroic character, badly studied; and being a novice on such a stage, I forgot my part before a pair of lovely blue eyes.

I do like to embed a fictional character firmly in an occupation.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.

Each of us is meant to have a character all our own, to be what no other can exactly be, and do what no other can exactly do.

I liked Huckleberry Finn and Tom Sawyer, and that is the kind of character that I would like to have played. That would have been more in tune with who I really was.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

In a lot of ways, the make-up was the character.

The more we study the Indian's character the more we appreciate the marked distinction between the civilized being and the real savage.

So many people have said that to me, that what they really like about Alex is what she brings out in Marissa, and what this situation brings out in her, a hint of happiness and another side to her character.

I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.

It is not true that drink changes a man's character. It may reveal it more clearly.

Because I killed a guy in real life, and because my character kills a guy onstage, they said I could never do anything this great again. I resented that.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

I just kind of understood it, and I threw my love for others and love for life into the character, and was having a blast. I loved playing Dharma. I loved it!

I think if you play a character that is fearless, then it's boring. I think that's what was so incredible about Harrison Ford, is that he always seemed like he was never going to survive it, he's always scared, and yet he always does survive it somehow.

If you look to lead, invest at least 40% of your time managing yourself - your ethics, character, principles, purpose, motivation, and conduct. Invest at least 30% managing those with authority over you, and 15% managing your peers.

Every character I play has to be the hero of his own story, the way we're all heroes of our own lives.

To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.

Character is power; it makes friends, draws patronage and support and opens the way to wealth, honor and happiness.

You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.