I describe my plots as follows; A character is walking down the street when all of a sudden a piano falls on them. They spend the rest of the story digging out from under that piano. How they dig, how long and how well, this all depends entirely on the character.

All of this got me thinking about the history of the westward expansion, and got me to wondering how the exploration of the Solar System would be changed if there were an indigenous presence out there.

I think people enjoy a series. When you like a story, many readers want more of the same, which is dandy, if the author and the characters have more to say.

First and foremost, The Quiet Invasion is a first contact story. What would we do if we actually found evidence of alien life out there? It's also about politics.

I'm mostly a novelist these days, but I have written short stories in Fantasy, Science Fiction and horror.

Becoming a mother cannot help but change things. An author's life is reflected in their writing, whether they want it to be or not, and parenthood is one of the biggest life changes there is.

Now, Venus is an extremely hostile environment, and as such presents a lot of challenges for a science fiction author who wants to create life there. However, as I began to research it more thoroughly, I found myself intrigued by the possibilities the world offers.

Fantasy is, of course, booming, and I think it's beginning to stretch its range as well.

When I was in college, I spent a summer working in London. I'd enjoyed tea before that, but then I got actual, really good tea there and never looked back.

So, one of the things I was doing with the aliens in The Quiet Invasion was creating that advanced society which had ideas about morality and proper use of natural resources that were radically different from ours, as the Europeans were from the American Indians.

My joking answer to this question is that I leave a bowl of milk out on the back porch every night for the Idea Fairy. In the morning, the milk is gone and there's a brand-new shiny idea by the bowl.

The Lord of the Rings movie set an entirely new standard for fantasy in the movies.

I describe my plots as follows; A character is walking down the street when all of a sudden a piano falls on them. They spend the rest of the story digging out from under that piano. How they dig, how long and how well, this all depends entirely on the character.

Octavia Butler, of course, is brilliant and disturbing.

I did not want to write a story about the invasion of Earth, so I had to create a race capable of living nearby, which meant to either on the Moon, on Mars, or on Venus. I picked Venus.

Fortunately, many people also enjoy a stand-alone as a sample of something new, like trying the special at a favourite restaurant one night instead of going for the usual.

I have a better internal and intuitive understanding of folklore and myth than science and technology, so in that way fantasy is easier.

I myself was born in Sacramento, California in 1966.

Then, I realized that there is an indigenous presence in the Solar System. It's us. So, then, I got to wondering what would happen if a more technologically advanced society moved next door to us, the way we moved next door to the American Indians.

Actually, after while, finding the ideas is the easy part. Sorting them through and turning them into stories, now, that's the hard work.

When I'm not at the keyboard, I'm generally reading, practicing tai chi or middle eastern dance, or cooking.

I suppose if I was to have to pick a few, Ursula LeGuin would have to top the list. It was while reading her work that I decided I wanted to be an author.

If I get blocked, it is generally because I don't know enough about some aspect of the story or the characters. The answer for this is generally more research, or making more background notes, so the place and person can be more fully realized inside my own mind.

I graduated from the University of Michigan with a BA in Communications and left formal education behind.

Now, of course, the great thing about the solar system as a frontier is that there are no Indians, so you can have all the glory of the myth of the American westward expansion without any of the guilt.

I feel SF is going through an experimental phase right now.

I have to do more close research and fact checking for the science fiction. This is not however to say that writing good fantasy does not involve doing good research.

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.

In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character.