Science fiction writers foresee the inevitable and although problems and catastrophes may be inevitable solutions are not.

I found out about reviews early on. They're mostly written by sad men on bad afternoons. That's probably why I'm less angry than some writers who are so narcissistic they consider every line of every review even a thoughtful one as major treason.

I think coldness is chic among writers and particularly ironic coldness. What is absolutely not allowable is sadness. People will do anything rather than to acknowledge that they are sad.

That is sad until one recalls how many bad books the world may yet be spared because of the busyness of writers.

Out of respect to writers you have to read the book in the way in which the author visualised it going out into the world.

I believe that like most writers my personality comes through in the fiction. So in that respect my writing can't be like any other author's really.

The writers I respect the most had an undying commitment to a vision.

I have learned to respect ideas wherever they come from. Often they come from clients. Account executives often have big creative ideas regardless of what some writers think.

There are numerous cases of that where one of our writers discovers another writer whom he likes and we then take that book on. So it's a very close relationship. We can do that because we're so small.

And I have the support of the writers: I have a great relationship with the creative team and they have a good hold of my character and my personality and they come up with some great stuff and I'm forever trying to change it up keep it fresh.

Royalties are not how most writers or musicians make their living. Musicians by and large make a living with a relationship with an audience that is economically harnessed through performance and ticket sales.

There are a few writers that one has a relationship with that means basically you do whatever they say. One is Caryl Churchill and the other is David Hare.

One of the things I really love about TV is this symbiotic relationship you can get between the writers and the actors and the characters start to come to life because you start to collaborate.

I've discovered just how symbiotic the relationship is between writers directors and actors. They ask the same questions and strip down texts in exactly the same way.

The ability of writers to imagine what is not the self to familiarize the strange and mystify the familiar is the test of their power.

It's the writers' job to make it positive. It's my job to make it real.

As writers and readers as sinners and citizens our realism and our aesthetic sense make us wary of crediting the positive note.

Broadcasters or politicians or writers who think that they are respecting Struggle Street the battlers by dumbing things down into one-line sound bites are not respecting them they are treating them with contempt. It's our job above all in politics to tackle the big issues and to explain them.

I know many writers who first dictate passages then polish what they have dictated. I speak then I polish - occasionally I do windows.

All I knew about Ethiopia was from a few records that I like as well as what I read about the famine. But you get there and it's another world. It's filled with art and music and poetry and intellectuals and writers - all kinds of people.

I began the way nearly everybody I ever heard of - I began writing poetry. And I find that to be quite usual with writers their trying their hand at poetry.

I don't like political poetry and I don't write it. If this question was pointing towards that I think it is missing the point of the American tradition which is always apolitical even when the poetry comes out of politically active writers.

I'm quite sure that most writers would sustain real poetry if they could but it takes devotion and talent.

I have experienced healing through other writers' poetry but there's no way I can sit down to write in the hope a poem will have healing potential. If I do I'll write a bad poem.