I love the internet and it has been incredibly useful and I have made discoveries that have been immeasurably crucial to my work- things I don’t know how I ever would have found out otherwise, that are perfect, just what I need for whatever I’m doing.

Most science fiction seemed to be written for people who already liked science fiction; I wanted to write stories for anyone, anywhere, living at any time in the history of the world.

Childhood is a branch of cartography.

There's something inherently more appealing about the idea that you could reveal and tell stories about characters over the course of a TV season - 13 or 26 episodes, whatever it might be - than in the course of one two-hour movie. You can do so many more novelistic kinds of things on a TV show - with time, with gradual development of relationships, and so on - than you could possibly do in a movie. And that is very appealing.

The midnight disease is a kind of emotional insomnia; at ever conscious moment its victim—even if he or she writes at dawn, or in the middle of the afternoon—feels like a person lying in a sweltering bedroom, with the window thrown open, looking up at a sky filled with stars and airplanes, listening to the narrative of a rattling blind, an ambulance, a fly trapped in a Coke bottle, while all around him the neighbours soundly sleep.

Not only would I never want to belong to any club that would have me for a member--if elected I would wear street shoes onto the squash court and set fire to the ballroom curtains.

Nothing that had ever happened to him, not the shooting of Oyster, or the piteous muttering expiration of John Wesley Shannenhouse, or the death of his father, or internment of his mother and grandfather, not even the drowning of his beloved brother, had ever broken his heart quite as terribly as the realization, when he was halfway to the rimed zinc hatch of the German station, that he was hauling a corpse behind him