Ask a Soviet engineer to design a pair of shoes and he'll come up with something that looks like the boxes that the shoes came in; ask him to make something that will massacre Germans, and he turns into Thomas "Fscking" Edison.

One of the problems, hanging out with me, is that I can turn any topic into a toxic horror story. I've lost two girlfriends and a job by reading an ingredients label out loud, with annotations, at the wrong time.

Of course, the underlying structure of everything in England is posh. There is no in-between with these people. You have to walk a mile to find a telephone booth, but when you find it, it is built as if the senseless dynamiting of pay phones had been a serious problem at some time in the past. And a British mailbox can presumably stop a German tank.

Which path do you intend to take, Nell?' said the Constable, sounding very interested. 'Conformity or rebellion?' Neither one. Both ways are simple-minded - they are only for people who cannot cope with contradiction and ambiguity.

What writers of fantasy, science fiction, and much historical fiction do for a living is different from what writers of so-called literary or other kinds of fiction do. The name of the game in F/SF/HF is creating fictional worlds and then telling particular stories set in those worlds. If you're doing it right, then the reader, coming to the end of the story, will say, "Hey, wait a minute, there are so many other stories that could be told in this universe!" And that's how we get the sprawling, coherent fictional universes that fandom is all about.

Hiro watches the large, radioactive, spear-throwing killer drug lord ride his motorcycle into Chinatown. Which is the same as riding it into China, as far as chasing him down is concerned.

A few dud universes can really clutter up your basement.