You don't buy into huge car chases or sensates or interstellar warfare, but you can buy into a loving relationship or a father-son relationship, and you can buy into the small humor. If you want to make your fiction universal, go small. That's the best way to do it.

The future is all around us, waiting, in moments of transition, to be born in moments of revelation. No one knows the shape of that future or where it will take us. We know only that it is always born in pain.

To me, science fiction is about the sense of mystery, the sense of awe. Not 'shock and awe', just 'awe.'

To understand this whole area, you have to stop thinking like a viewer and start thinking like a network programming exec.

As kids, we spontaneously sing and dance and tell stories, and along the way, someone comes and says, 'No. You shouldn't be doing that.' And we slowly begin to unlearn our passions. I think you have to hold on to those things.

The problem with writing a monthly book is that you're going through your work like a man running for a bus, red-faced and out of breath. There isn't time for reflection or critical self-examination.

Superhero stories are kind of in my DNA from childhood on, so I think I'm genetically drawn to playing in the genre when the opportunity presents itself.