Perhaps this is the ultimate freedom, eh, Dreamlord? The freedom to leave.

Delirium: 'What's the name of the word for the precise moment when you realize that you've actually forgotten how it felt to make love to somebody you really liked a long time ago?' Dream: 'There isn't one.' Delirium: 'Oh. I thought maybe there was.'

In order for stories to work - for kids and for adults - they should scare. And you should triumph. There's no point in triumphing over evil if the evil isn't scary.

Chicago happened slowly, like a migraine. First they were driving through countryside, then, imperceptibly, the occasional town became a low suburban sprawl, and the sprawl became the city.

She took my hands in her, then, and squeezed them. 'But you stayed where you were meant to be, and you didn't listen to them. Well done. That's quality, that is,' and she sounded proud. In that moment I forgot my hunger and I forgot my fear.

[D]on't ever apologize to an author for buying something in paperback, or taking it out from a library (that's what they're there for. Use your library). Don't apologize to this author for buying books second hand, or getting them from bookcrossing or borrowing a friend's copy. What's important to me is that people read the books and enjoy them, and that, at some point in there, the book was bought by someone. And that people who like things, tell other people. The most important thing is that people read.

There are characters in some short stories who exist as people, and there are other characters in different short stories who exist as purely literary constructs. You know, the young man in "Forbidden Brides of the Faceless Slaves in the Secret House of the Night of Dread Desire" - I probably got that right - is a literary construct, and enjoys being a literary construct. He has no life off stage, whereas the young men in "How to Talk to Girls at Parties" were as near to being real human beings as I could possibly get them.