I Was Not Scared Of Anything, When

I Always Say That If You're A Novelist, The Challenge Is Not Writing What You Think Ought To Happen, But Trying In Some Way To Write What Did Happen In A World That Doesn't Necessarily Exist.

Writing Imaginative Tales For The Young Is Like Sending Coals To Newcastle. For Coals.

I Don't Just Randomly Kill People... I Kill People When It's Funny.

You Get Work However You Get Work. People Keep Working, In A Freelance World, And More And More Of Today's World Is Freelance, Because Their Work Is Good, And Because They Are Easy To Get Along With, And Because They Deliver The Work On Time. And You Don't Even Need All Three. Two Out Of Three Is Fine. People Will Tolerate How Unpleasant You Are If Your Work Is Good And You Deliver It On Time. They'll Forgive The Lateness Of The Work If It's Good, And If They Like You. And You Don't Have To Be As Good As The Others If You're On Time And It's Always A Pleasure To Hear From You.

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.