I think the rising and falling popularity of areas like hard SF and far-future SF is, to a considerable extent, the same as any other fashion.

It's most presumptuous to believe we already know all the answers and will never get any more big surprises.

Don't mistake a good setup for a satisfying conclusion - many beginning writers end their stories when the real story is just ready to begin.

Resist the temptation to try to use dazzling style to conceal weakness of substance.

Blaming society makes it awfully easy for a person of weak character to shrug off his own responsibility for his actions.

Ideally, I'd like every issue to include a diverse group of stories that meet the qualifications sketched above, but covering a wide range of specific matter and flavour.

It's easy to imagine ways the future can be ugly and depressing. It's harder, but more worthwhile, to imagine plausible ways we can make it better.

As for sticking strictly to presently known science, I will simply point out that we have already experienced at least two major revolutions in science in this century alone.

There may be something to the suggestion about the pace of technological change intimidating writers, though - it's been awfully hard to keep ahead of real developments.

And, of course, some SF is set close enough to here and now that Anglo and European do apply. Since many of the writers come from those backgrounds, so does much of the fiction.

This means I must pay close attention to the writing, but equally so to the scientific background - which sometimes means doing fairly involved calculations.

Don’t take this the wrong way, but you smell like Magnus.

I buy when other people are selling.

There is no thought or situation that you can't put up against inquiry. Every thought, every person, every apparent problem is here for the sake of your freedom.

What I enjoy most about being on stage is that the natural instruments give you a greater freedom with texture. When you use natural instruments they have their own resonance.

Photography is choosing where to point your eye-cone.

Never play a thing the same way twice.

I take six or seven years to write really small books. There is a kind of aesthetic of leanness, of brevity.

Above and beyond having the social life, to have a core group of people that you work with and spend time with and learn how to work with is a nice thing.

I don't make the mistake of thinking it's a major musical event. I love the Eurovision Song Contest and it will continue long after I'm gone. Just please don't ask me to take it seriously.

I don't know, maybe we're always looking for the right place, maybe it's within reach, but we don't recognize it. Maybe to recognize it, we have to believe in it.