If you are pointing out one of the things a story is about, then you are very probably right; if you are pointing out the only thing a story is about you are very probably wrong - even if you're the author.

Just go with it. It won't hurt.' I stared at him. Adults only ever said that when it, whatever it happened to be, was going to hurt so much.

Sometimes an old idea gets relegated to the back of the line in the mad delight of a new idea, one you've never had before, and that you write fast in the thrill of the new. No rules. Just stories, and you tell as many of them as you can.

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.

He couldn’t see why people made such a fuss about people eating their silly old fruit anyway, but life would be a lot less fun if they didn’t. And there was never an apple, in Adam’s opinion, that wasn’t worth the trouble you got into for eating it.

They also held that the way to salvation was to give way to lust and temptation in all things. And no greater percentage of them turned up here than of any other religion. Amusing, isn't it?

I'm sure there's an alternate universe where I got to become a pulpy science fiction writer.