Try to meet as many authors, agents, and editors as you can.

The big battle at the end of DW isn't drawn from history, but it's influenced by history, certainly.

I've learned that I get blocked when my subconscious mind is telling me that I've taken the work in a wrong direction, and that once I start listening to what my subconscious is trying to tell me, I can work out the problem and get moving again.

For every SF reader of that period, Robert A. Heinlein was also a touchstone.

How long it takes to write a book depends on its length.

It's a tough job to tell a story when the audience already knows the ending, and the ending is bleak.

I was pretty much grown-up by the time I attended school in Britain - or as grown-up as I'll ever get.

Being a writer was never a choice, it was an irresistible compulsion.

The Internet offers an interesting combination of advertising and community by participating in the community you can become an advertisement for yourself.

Working within the limitations of the shared world generally made the writing easier, because I didn't have to invent any of the characters or background, which is usually the hardest part.

When state and religion are one, religion becomes a means for the powerful to remain in power.

It's hard to generalize, because they're all different. When I started, I decided to take as much advantage as I could of the freedom offered by the SF field.

The mass-market paperback, for one, is too expensive.

I went to college, though I didn't take many writing courses.

I've experienced writer's block, but never for more than a few days.

I found college useful for a lot of other reasons. It exposed me to a great many influences I wouldn't otherwise have encountered, and gave me a lot of time with some very intelligent people whose thoughts are still with me.

Everything that you read is an influence on everything you write, and you want to draw as many elements into your work as you can.

Now I have to motivate myself much more than I had previously.

That's why editors and publishers will never be obsolete: a reader wants someone with taste and authority to point them in the direction of the good stuff, and to keep the awful stuff away from their door.

I wanted to be an author for as long as I can remember.

Even if you only want to write science fiction, you should also read mysteries, poetry, mainstream literature, history, biography, philosophy, and science.

If you can find collaborators whose strengths compliment your own, the result can be more than the sum of its authors.

I'm not afraid of werewolves or vampires or haunted hotels, I'm afraid of what real human beings to do other real human beings.

Try to meet as many authors, agents, and editors as you can.

An SF author who reads only SF will have little new to contribute, but someone with a broader experience will bring more to the table.

I want a platform that, like a book or a magazine, I can carry into the bath or leave at the beach.

I now have to find a reason to write, every single day.

I'm in favor of any technology that makes my work available to the reading public at a reasonable price.

The Rift, which was well over a thousand pages of manuscript, took two years.

I can't speak for the other authors, but what I hoped to achieve was to illuminate certain corners of the Lucas universe that hadn't yet been explored.

Genre labels are useful only insofar as they help you find an audience.

Science fiction readers probably have the gene for novelty, and seem to enjoy a cascade of invention as much as a writer enjoys providing one.

Some of my ideas were shot down by Lucasfilm because they stepped on territory that has been reserved for the movies. I didn't have a problem with that.

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.