I can't tell you any more than any other writer can tell you why they write, and I don't know what my influences are.

From the beginning, the series has been story driven - I began with a story idea - but research feeds it.

And that's how I start myself. I usually go back a couple of pages, maybe to the beginning of the chapter, and I start reading. And as I'm reading, I'm tweaking - putting in a different word, changing the syntax, putting that clause over there, you know that sort of thing.

Life sometimes gets in the way of writing.

It took some time to gather the research and develop it into the storyline, and to finally finish an origin myth poem that I had been working on for twenty years.

I have been a reader of Science Fiction and Fantasy for a long time, since I was 11 or 12 I think, so I understand it and I'm not at all surprised that readers of the genre might enjoy my books.

Aside from sales, the letters from readers have been primarily positive.

I had an idea for a story about a young woman who was living with people who were different, not just superficially different - such as hair colour, or eye colour, or skin colour - but different in some significant way.

I probably read 100 times more than I write, but that way when I move my characters through it, I know.

Science Fiction is not just about the future of space ships travelling to other planets, it is fiction based on science and I am using science as my basis for my fiction, but it's the science of prehistory - palaeontology and archaeology - rather than astronomy or physics.

From the beginning, when I first got an idea for a story and wondered if I could write it, it has always been the story that has driven me.

I can move my characters through it easily, because I understand the background; I've really studied it.

I have heard Science Fiction and Fantasy referred to as the fiction of ideas, and I like that definition, but it's the mainstream public that chooses my books for the most part.

I don't write for publishers, certainly not for critics, and not for readers, But I am delighted that so many people have found my books enjoyable and want to continue to read them.

Of the two, I would think of my work as closer to Science Fiction than Fantasy.

No, my publisher has always done the marketing.

I can't tell you any more than any other writer can tell you why they write, and I don't know what my influences are.

My fiction is reviewed by the mainstream press, by science fiction periodicals, romance magazines, small press publications and various other journals, including some usually devoted to archaeological and other science material.

Though my books are written from a historical perspective, I have goon so far back that I am in the realm of prehistorical speculation rather than simple historical fact to weave my stories around.

I could write historical fiction, or science fiction, or a mystery but since I find it fascinating to research the clues of some little know period and develop a story based on that, I will probably continue to do it.

The idea led me into the research, which continues to give me more ideas for the story.

Each book has been different and has been challenging in its own way to write.

I'm just writing a story that I want to read.

I started writing to please myself, a story I would like to read, and that is still true.

I really fell in love with Africa.

I think of my books as mainstream and that's were most people who read them look for them in book stores.

Arnold Bennett was a writer I admired. He was actually taking notes at his father's deathbed.

The good parts of a book may be only something a writer is lucky enough to overhear or it may be the wreck of his whole damn life and one is as good as the other.

For a country to have a great writer is like having another government. That's why no regime has ever loved great writers, only minor ones.

I'm a writer who likes to be influenced.

In relation to a writer, most readers believe in the Double Standard: they may be unfaithful to him as often as they like, but he must never, never be unfaithful to them.

A true critic ought to dwell upon excellencies rather than imperfections, to discover the concealed beauties of a writer, and communicate to the world such things as are worth their observation.

A writer may tell me that he thinks man will ultimately become an ostrich. I cannot properly contradict him.

The most important training, though, is to experience life as a writer, questioning everything, inventing multiple explanations for everything. If you do that, all the other things will come; if you don't, there's no hope for you.

It is not often that someone comes along who is a true friend and a good writer.

Every sentence has a truth waiting at the end of it and the writer learns how to know it when he finally gets there.

It's essential not to have an ideology, not to be a member of a political party. While the writer can have certain political views, he has to be careful not to have his hands tied.

I was never really a writer, I was always more of a performer.

Without books I would not have become a vivacious reader, and if you are not a reader you are not a writer.

Well see, I'm a good enough writer that not everybody in my books talks exactly like I do.

So while it is true that I find really dark stuff funny sometimes, it's also true that as a writer of books I want to have the whole range of human emotions.

Here I am, where I ought to be. A writer must have a place where he or she feels this, a place to love and be irritated with.

Nowadays I'm not even sure if newspapers take into account whether a person is a good writer.

Remember Graham Green's dictum that childhood is the bank balance of the writer? I think that all writers feel alienated. Most of us go back to an alienated childhood in some way or another. I know that I do.

You know, Mamet is not a huge writer of female parts. Most of his movies don't even have women in them, so I'm lucky I'm in it at all.

A writer should get as much education as possible, but just going to school is not enough; if it were, all owners of doctorates would be inspired writers.

I am a writer. I could not afford to take 15 months off from my writing career to play detective.

In the theater, characters have to cut the umbilical cord from the writer and talk in their own voices.

I knew I wasn't a baseball writer. I was scared to death. I really was afraid to talk to players, and I didn't want to go into the press box because I thought I was faking it.