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.

Crappy old OSes have value in the basically negative sense that changing to new ones makes us wish we'd never been born.

The story is everything, so it always begins with a story.And research is a kind of scaffolding built underneath the story as I go along. My enjoyment level varies, but in general, I'm writing about topics I find interesting, so I can't gripe too much.

Jack the sound barrier. Bring the noise.

The franchise and the virus work on the same principle, what thrives in one place will thrive in another. You just have to find a sufficiently virulent business plan, condense it into a three-ring binder ― its DNA ― Xerox it, and embed it in the fertile line of a well-traveled highway, preferably one with a left turn lane. Then the growth will expand until it runs up against its property lines.

The best way to know someone is to have a conversation with them.

But then, Cap'n Crunch in a flake form would be suicidal madness; it would last about as long, when immersed in milk, as snowflakes sifting down into a deep fryer. No, the cereal engineers at General Mills had to find a shape that would minimize surface area, and, as some sort of compromise between the sphere that is dictated by Euclidean geometry and whatever sunken treasure related shapes that the cereal aestheticians were probably clamoring for, they came up with this hard-to-pin-down striated pillow formation.