The 'interactive fiction' format hasn't changed in any fundamental way since the early 1970s, in the same way that the format of the novel hasn't since 1700.

Then in my early teens, when the home computer bubble was blowing, I had one of the first, an Acorn Atom, and used to write primitive adventures on that.

A deliberate choice on my part was for the player to continue to find new possibilities in the early Attic rooms far into the game. I think this builds atmosphere, though it means there's no neat division of the prologue from the middle game.

Writing a really general parser is a major but different undertaking, by far the hardest points being sensitivity to context and resolution of ambiguity.

Eventually I found it had been working all along-but didn't show anything on screen until it had the first full page of text. I inserted 30 new lines, and suddenly my toy said 'hEllO woRlD'. An hour later I understood alphabet shifting rather better!

By the new year of 1994, it had grown up into Inform 4 and could produce games twice as large.

The most frequent complaint is that it's hard. True. it's a hard game to win Also, many people ask me how to use the secret debugging commands, apparently under the impression that I'll tell them.

I'm rather pleased with the new manuals. I see Inform now as a gauche young adult, having got past the stage of growing out of his shoes every few months.

For a fortnight nobody at all emailed me, or posted a follow-up. Doesn't anyone care, I thought? It turned out my newsreader was broken, and hadn't posted at all.

At the end of April I archived 'Curses' and Inform, and announced them on the newsgroups.

This means keeping many trails open at once, inevitably requiring a fairly 'parallel' plot. This plot should be discovered rather than announced, so show, don't tell.

If you're setting a game during the Cuban Missile Crisis, look through a library. find out what people were wearing, what other issues were in the news, how houses were furnished, what cars were being driven. Especially include things which now seem foreign.

I try to make puzzles range all the way from easy to hard, and to leave many open at once.

I don't really believe in 'directions' in art; the rope twists as you follow it, that's all.

The 'interactive fiction' format hasn't changed in any fundamental way since the early 1970s, in the same way that the format of the novel hasn't since 1700.

I like to employ a form of repetition, in which the same elements recur but in different and unexpected ways. rather than being discarded as soon as they are understood or passed over.

Players very widely disagree with me about what's hard and what's easy. and in a way, 'I won, but it was a fight' is the best compliment a game can receive.

The time has mainly gone on getting Inform into a decent shape for public use. I suppose the plot of 'Curses' makes a sequel conceivable when compared with, say, the plot of 'Hamlet' but none is planned.

What I would pay much more attention to are the few points where the player can inadvertently make a career decision. Most players end up back-tracking, though some actually enjoy this.

If pushed, though, I'd say that the next stage will be reached when it it's no longer true that about 75% of the best games were written in 1980's on the way to that.

I don't really have special rituals, but I don't try to write fiction unless I have a minimum of a few hours. For me, it takes a while to settle into a mode where I'm truly concentrating.

The fact that it's science fiction gives you the license to do anything you want to do.

For someone who writes fiction, in order to activate the imagination and the unconscious, it's essential to be free.

Fiction came quite a while later. I began with short stories and fiction for children.

Mr. Henry James writes fiction as if it were a painful duty.

I'd have been a filmmaker or a cartoonist or something else which extended from the visual arts into the making of narratives if I hadn't been able to shift into fiction.

For truth is always strange; stranger than fiction.

We were given clear concrete tools. The course did a great job demystifying the art of fiction writing and fostering confidence. The instructor brought complex concepts down to earth. I will miss coming here every week.

The biographies and autobiographies are on the whole more impressive than the fiction of the last two decades, but the freakish best sellers among them are least likely to withstand the test of time.

I have never been a critic of science fiction as a whole.

Fiction was invented the day Jonas arrived home and told his wife that he was three days late because he had been swallowed by a whale.

I think if I had been writing fiction, where the work is entirely dependent on the writer's creativity and the potential directions the narrative might take are infinite, I might have frozen.

I have always loved science fiction. One of my favorite shows is 'Star Trek.' I like the trips, where it drops my mind off, because they give you a premise and all of a sudden, you say, 'Oh!' and I'm fascinated by it.

I spent several years acquiring the obsessive, day-to-day discipline that's needed if you want to write professionally, then several more, highly valuable years studying fiction writing at the University of Iowa.

For people who have no critical acumen, a state is a mythical entity, for those who think critically it is a rational fiction, created by man in order to facilitate human coexistence.

There is an element of autobiography in all fiction in that pain or distress, or pleasure, is based on the author's own. But in my case that is as far as it goes.

For the last 30 years our cinemas have been ruled by science fiction and horror. We've had some very good Fantasy films in that time period, but for my tastes I still haven't seen fantasy done to absolute perfection. That is the hope I have in this project.

I dig science fiction, though it was never really my thing.

I have a kind of standard explanation why, which goes like this: Science fiction is one way of making sense out of a senseless world.

I'm not a great science fiction fan myself. I probably feel that way about Westerns. Like I used to play Cowboys and Indians, they can act out Will and the Robot.

A masterpiece of fiction is an original world and as such is not likely to fit the world of the reader.

In writing biography, fact and fiction shouldn't be mixed. And if they are, the fictional points should be printed in red ink, the facts printed in black ink.

In fiction, you have a rough idea what's coming up next - sometimes you even make a little outline - but in fact you don't know. Each day is a whole new - and for me, a very invigorating - experience.

We have escapist fiction, so why not escapist biography?

Like everybody at that age, I read an awful lot of pulp fiction. But at the same time, I also read quite a bit of history and read that as much for pleasure as part of a curriculum.

I think the thing is with a movie that has this much science fiction in it; you need characters who are more science fact, if you know what I mean, than they are human.

I think that it's more likely that in my 60s and 70s I will be writing poetry rather than fiction.

Yes, he wanted me to do Funny Games before, which I didn't want to do because the film was very theoretical - the way people experience violence on screen. There was very little space for fiction, it was more like a sacrifice for the actors than anything else.

I don't mean that literary fiction is better than genre fiction, On the contrary; novels can perform two functions and most perform only one.