We do a hard fantasy as well as hard science fiction, and I think I probably single-handedly recreated military science fiction. It was dead before I started working in it.

In any ethical situation, the thing you want least to do is probably the right action.

You see, I used to do a certain amount of market research by going to the local drugstore and seeing what the truck drivers would put up. Now it's all just copies from the latest best-seller list and damn little of anything else.

One the other hand, the publishing trend is ghastly, isn't it? Two hundred and something distributors are now down to 10 or 12? And what's the recruiting drive?

There were probably, what, 300 science-fiction members in the SFWA, of whom probably a hundred were active members in the sense that they were selling something every year, or every couple years.

I have more information in one place than anybody in the world.

The hard part of writing at all is sitting your ass down in a chair and writing it. There's always something better to do, like I've got an interview, sharpening the pencils, trimming the roses. There's always something better to do. Going to a writer's club?

To doubt everything or to believe everything are two equally convenient solutions; both dispense with the necessity of reflection.

And in down times it shakes a lot of the bad SF out, a lot the stuff that was bought for literary reasons, which is neither entertaining nor great literature.

Heinlein never had a best-seller. Even, I think, with Stranger in a Strange Land, I don't think it was actually on the New York Times best seller list.

Because Tom Doherty and people like that are not stupid. If they could have streamlined their operation more to get more money out of it, they would have done it. It's not like they're a bunch of idiots.

I think it takes about a million words to make a writer. I mean that you're going to throw away.

We're basically after Joe's beer money, and Joe likes his beer, so you better make sure that what you give him is at least as pleasurable to him as having his six-pack of beer would be.

The importance of information is directly proportional to its improbability.

We do a hard fantasy as well as hard science fiction, and I think I probably single-handedly recreated military science fiction. It was dead before I started working in it.

You no longer have much in the way of knowing what to do in a big, epic novel about the future, because nobody knows what the hell is going to happen.

Somebody's always getting me to come lecture to their writing class, and I don't talk about writing at all, I talk about the business of making a living at this racket.

Asimov was the reason why we changed some rules in the SFWA, and I'm not convinced we changed it for the best.

I started in this racket in the early '70s, and when I was president of the Science Fiction Writers of America, of which I was like the sixth president, I was the first one nobody ever heard of.

And that's another piece of advice I'll give junior writers; when you get to the point where they take you to lunch, let the editor suggest where to go.

The Aztecs believe they started up in what's now New Mexico, and wandered for 10,000 years before they got down into where they are now, in Mexico City. That's a weird legend.

So, I guess the answer to your question is very few people can bring off a novel of the future because it's just so damn hard to make it look like the future.

Write a lot. And finish what you write. Don't join writer's clubs and go sit around having coffee reading pieces of your manuscript to people. Write it. Finish it. I set those rules up years ago, and nothing's changed.

And meanwhile, the storytellers like me and Anderson, Silverberg... we tell stories. People like them. They want to know how it comes out, they want to know what the ending is.

In any bureaucracy the people devoted to the benefit of the bureaucracy itself always get in control and those dedicated to the goals the bureaucracy is supposed to accomplish have less and less influence and sometimes are eliminated entirely.

In any ethical situation the thing you want least to do is probably the right action.

My interests were in fantasy more than comics growing up.

You can also make explicit certain social problems which, again, would be prejudged or not encountered at all in real life, because people have set up defenses against it. Fantasy allows you to get past defenses.

I love biomedical science, I love astronomy, and you can't really do much with those in a fantasy setting.

Fantasy is toxic: the private cruelty and the world war both have their start in the heated brain.

We in this Congress have a choice. The American people have a right to exercise a choice on this issue, as to whether our men and women will continue to fight and die in a war based on deception and fantasy, or to start bringing the troops home.

One fantasy is that I just do a Don Roos movie every year if that's possible. If he'd have me.

I mean, I don't know anything else that I would try to do, but it's a very frustrating thing to do, because you are trying to take what's a fantasy in your head and make it live through the minds of 200 people.

I think sex is very interesting for most people, but I'm interested in sex as a way of communication, I'm not that interested in the fantasy version of a sex scene.

There is no winning or losing, but rather the value is in the experience of imagining yourself as a character in whatever genre you're involved in, whether it's a fantasy game, the Wild West, secret agenst or whatever else. You get to sort of vicariously experience those things.

Plastic surgery and breast implants are fine for people who want that, if it makes them feel better about who they are. But, it makes these people, actors especially, fantasy figures for a fantasy world. Acting is about being real being honest.

Fantasy, abandoned by reason, produces impossible monsters; united with it, she is the mother of the arts and the origin of marvels.

I think I'll give it up, the fantasy is over, I wanted to play Spiderman, Peter Parker.

Fantasy is the only canvas large enough for me to paint on.

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.

The idea of it becomes a little freaky if you're dealing with someone who has trouble differentiating between fantasy and reality, but that's a concern no matter what kind of movie you're dealing with.

Fantasy is an exercise bicycle for the mind. It might not take you anywhere, but it tones up the muscles that can. Of course, I could be wrong.

I believed totally in the possibilities implied in the series. I never thought of it as fantasy. Far from it.

The minute I forget to balance reality with the fantasy, I'm going back to Virginia.

Even though my songs may sound very personal, to me most of them are fiction. It is a great way for me to be able to live a fantasy life as a writer because I get to be someone else, someplace else for three and a half minutes, just like the listener.

I absolutely adore working in the realms of fantasy.

In my sex fantasy, nobody ever loves me for my mind.

Wuxia is a fantasy world exists in everyone's mind.

It didn't matter what we did or where we did it as long as we were together. We knew we'd found what most people either pursue in years of futile search or dismiss as a fantasy at the outset: the missing half of ourselves. The real thing.