Writers of historical fiction are not under the same obligation as historians to find evidence for the statements they make. For us it is sufficient if what we say can't be disproved or shown to be false.
The once-science-fiction notion of hyper-connectivity - where we are all constantly connected to social networks and other bubbling streams of digital data - has rapidly become a widespread reality.
I was just about to begin writing 'Mirror Mirror', within about a week of it, when September 11, 2001 happened. I found myself incapable of caring about fiction-making for a number of months.
Fiction is an urgent business. It is the Dying Us telling stories to the Dying Us, trying to crack the nonsense in our heads open with a big hammer pronto, before Death arrives.
...Fan fiction is a way of the culture repairing the damage done in a system where contemporary myths are owned by corporations instead of owned by the folk.
There are still some terrible cliches in the presentation of Indian fiction. The lotus flower. The hennaed hands. In mainland Europe, people still slap these images on my books and I go bananas.
Fiction gives us a reach into the lives of individuals that would otherwise be but a closed door. If we are gifted with a desire to tell tales, then we should tell them . . . if only to reach but a few.
I think part of what I like about being a fiction writer is that I can inhabit something that's beyond the limits of my own personality.
Criticism is, for me, like essay writing, a wonderful way of relaxation; it doesn't require a heightened and mediated voice, like prose fiction, but rather a calm, rational, even conversational voice.
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.
When I think about writers who use fiction as social commentary and to raise social awareness but who are also very popular, I think of Dickens.
I think there are readers out there and I don't think the book is dead. And more importantly I don't think readers have to choose between literary and commercial fiction.
I'm not sure what to call 'Lego Star Wars: The Visual Dictionary.' Nonfiction? Movie/toy fiction? But it is any Lego/'Star Wars' kid's dream. Call it spectacular.
I seem most instinctively to believe in the human value of creative writing, whether in the form of verse or fiction, as a mode of truth-telling, self-expression and homage to the twin miracles of creation and consciousness.
The firmest house in my fiction, probably, is the little thick-walled sandstone farmhouse of 'The Centaur' and 'Of the Farm'; I had lived in that house, and can visualize every floorboard and bit of worn molding.
Having a day job again I found really kind of fueled my fiction, because it became almost this forbidden thing where I had to sneak off and do it in private.
I'm a professional non-fiction reader, that's what I do. But in my 20s we had our own vampire and witch moment, courtesy of Anne Rice, whose books I read and loved.
I use my fiction to explore my own unconscious issues. I usually don't even know what's going on with me until I'm writing. That doesn't mean my books are autobiographical.
When you write non-fiction, you sit down at your desk with a pile of notebooks, newspaper clippings, and books and you research and put a book together the way you would a jigsaw puzzle.
In fiction, plenty do the job of conveying information, rousing suspense, painting characters, enabling them to speak. But only certain sentences breathe and shift about, like live matter in soil.
I'd have been a filmmaker or a cartoonist or something else which extended from the visual arts into the making of narratives if I hadn't been able to shift into fiction.
