Since fantasy isn't about technology, the accelleration has no impact at all. But it's changed the lives of fantasy writers and editors. I get to live in England and work for a New York publisher!

I'm working on a very long series of paintings based on desert folklore.

I was a great fan of Jim Henson.

There are plenty of bad editors who try to impose their own vision on a book.

There's that old adage about how there's only seven plots in the world and Shakespeare's done them all before.

But for me, really, the written word is always stronger than film.

Read the folklore masters. Go to galleries. Walk in the woods. That's what you need to be an artist or storyteller.

The first job I was offered was as an editorial assistant. I think it was the best thing for me, in terms of being a storyteller by nature, to have spent years being an editor because I learned so much from it.

I wanted to be a scientist. But I had no math skills.

I'd like to encourage people to please keep reading-and most importantly, to please keep trying new writers. The only way we can bring fresh new material into the field is if people go out and buy it.

I have a great respect for the academics who are working with the source material. My hat's off to them.

When I was younger, I was in love with everything about the British Isles, from British folklore to Celtic music. That was always where my passions were as a young girl, and so I studied folklore as a college student in England and Ireland.

A good novel editor is invisible.

I'm also looking for gems that the average reader might have missed.

I've only been living in England for the last 10 years, if you don't count my student years.

I divide my time between homes in Arizona and England, six months a year in each place.

In more recent years, I've become more and more fascinated with the indigenous folklore of this land, Native American folklore, and also Hispanic folklore now that I live in the Southwest.

Filmmaking can be a fine art.

Robert Jordan, whether he's writing with passion or not, I don't know.

Magic Realism is not new. The label's new, the specific Latin American form of it is new, its modern popularity is new, but it's been around as long as literature has been around.

I like Celtic folk music, Native American music, and any kind of early music. There isn't a lot of music that I don't like... except for Show Tunes.

Since fantasy isn't about technology, the accelleration has no impact at all. But it's changed the lives of fantasy writers and editors. I get to live in England and work for a New York publisher!

What I find interesting about folklore is the dialogue it gives us with storytellers from centuries past.

I'd had no particular interest in the Southwest at all as a young girl, and I was completely surprised that the desert stole my heart to the extent it did.

One of the best things about folklore and fairy tales is that the best fantasy is what you find right around the corner, in this world. That's where the old stuff came from.

We've always lived in dark times. There has always been a range of human experience from the sublime to the brutal, and stories reflect it. It's no less brutal now; each age has its horrors.

When I started in the business, there was a thing called adult fantasy, but nobody quite knew what it was, and most publishers didn't have an adult fantasy list. They had science fiction lists, which they stuck a little bit of fantasy into.

I'm an artist, I'm not an academic folklorist.

There have been a number of us working very, very hard to bring myth and fairy tales into public consciousness, through fantasy literature and other media. I hope we're succeeding in some small way.

My book collection is primarily in America, since that's where I've lived most of my life.

We're all misfits herefrom our weirdnesses and our differences, from our manic fixations, our obsessions, our passions. From all those wild and wacky things that make each of us unique.

Honestly, I expected to get a cold reception because of my subject matter. But when editors took a look at the story I had to tell, and saw that this was not a parochial story at all, they really warmed to it.

I think that they had afforded me many opportunities to do good work there, and I think I did. It was a wonderful four years. I really worked with some great people, terrific producers, terrific editors.

So I went out and bought myself a copy of the Writer and Artist Yearbook, bought lots of magazines and got on the phone and talked to editors about ideas for stories. Pretty soon I found myself hired to do interviews and articles and went off and did them.

If it were not for the fact that editors have become so timorous in these politically correct times, I would probably have a greater readership than I have.

Some editors are failed writers, but so are most writers.

I try to help people become the best possible editors of their own work, to help them become conscious of the things they do well, of the things they need to look at again, of the wells of material they have not even begun to dip their buckets into.

There are plenty of bad editors who try to impose their own vision on a book.

Writers would submit scripts to me, and if I liked one well enough to submit to magazine editors, I had the know-how whether the story was good or bad.

I wrote poems in my corner of the Brooks Street station. I sent them to two editors who rejected them right off. I read those letters of rejection years later and I agreed with those editors.

If there had been three public editors before me, the body might have absorbed it a little bit better.

The Bush administration works closely with a network of rapid response digital brownshirts who work to pressure reporters and their editors for 'undermining support for our troops.'

Editors of open anthologies actively seek submissions from all comers, established and unknown. They are willing to read whatever the tide washes up at their feet.

The first version of The Beautiful Room Is Empty was the first mss. I'd ever submitted to New York editors.

And I remember that the editors wanted to have a witness to say that this was really the case, because it was a very sharp picture of the just the face, the head of the fetus inside the womb.

The real literary editors have mostly been fired. Those that remain are all "bottom line" editors; everything depends on the money.

You're at the mercy of the editors' hands.

Not that I've always loved the movie when they finally come out, or if they ever come out-because many of them don't come out-but I've gotten to work with really good story editors and stuff like that.

There are many more want-to-be writers out there than good editors.