Genre fiction, as Terry Pratchett has pointed out, is a stew. You take stuff out of the pot, you put stuff back. The stew bubbles on.

If you cared enough about your characters, what happened to them was interesting... it's important to care about them, about who they are and what they do...I don't really care whose side they are on, and they can be monstrous on the outside or, worse, on the inside, but you still have to want to spend time with them.

I knowed a man in Paphlagonia who'd swallow a live snake every morning, when he got up. He used to say, he was certain of one thing, that nothing worse would happen to him all day. 'Course they made him eat a bowlful of hairy centipedes before they hung him, so maybe that claim was a bit presumptive.

She really was pretty, for a grown-up person, but when you are seven, beauty is an abstraction, not an imperative. I wonder what I would have done if she had smiled at me like that now: whether I would have handed my mind or my heart or my identify to her for the asking, as my father did.

I think I’ll dismember the world and then I’ll dance in the wreckage.

"Only write what you know" is very good advice. I do my best to stick to it. I wrote about gods and dreams and America because I knew about them. And I wrote about what it's like to wander into Faerie because I knew about that. I wrote about living underneath London because I knew about that too. And I put people into the stories because I knew them: the ones with pumpkins for heads, and the serial killers with eyes for teeth, and the little chocolate people filled with raspberry cream and the rest of them.

My wife, Amanda, is terribly good at warping reality. She is like a bowling ball on a rubber sheet, and you find yourself living in her universe, doing things that are completely unexpected or unimaginable for you, but you blink and you're up on a stage singing, or wearing a peculiar wig, or writing a book filled with feelings and emotion, or doing something equally as unlikely.