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The only thing I like about air travel is it gives me time to read.

Coincidence is a recognized element in 'real life.' All of us have anecdotes about those times when, by the merest coincidence, we avoided some disaster or stumbled onto some wonderful experience.

A common complaint about stories that include excessive coincidence is that the story is 'unrealistic.'

When a writer is already stretching the bounds of reality by writing within a science fiction or fantasy setting, that writer must realize that excessive coincidence makes the fictional reality the writer is creating less 'real.'

In any story, drama may be intensified by the characters realizing by how narrow a margin they had managed to succeed - that is, where coincidence played a role. This is one of the more realistic ways to use coincidence because rarely do we realize how important a coincidental event is until after the fact.

The sad thing is that, for many writers of fantasy fiction, the inclusion of magic seems to mean that logical ramifications and real-world laws both go out the window.

Diana Wynne Jones' excellent book 'The Tough Guide to Fantasyland' is a compendium of the sort of lazy writing that has given fantasy fiction - especially the sub-section that features elves and dwarves and other Tolkienesque elements - a bad name.

My feeling is that writing Fantasy should be harder - not easier - than writing any other kind of fiction.

I realize that, to many readers, Hard Fantasy may seem to be a contradiction in terms. Fantasy, according to most generally recognized definitions, differs from both 'real world' fiction and 'science fiction' in that magic or magical creatures are active elements.

The futuristic city on 'Legends Walking's cover rejects any connection with the contemporary setting of 'Changer.' It was as if every effort was made to keep readers of 'Changer' from finding this stand-alone sequel.

'Legends Walking' was the first of my books to go to a second printing based on strong initial orders, but much of that printing never found its audience.

Readers are always surprised to learn that authors have little or no input regarding the cover art for their books.

I've never met any artist who illustrated one of my books, although I've corresponded briefly with one. I have always been impressed by the technical expertise involved in the covers, even if sometimes puzzled by the subject matter.

Copy editors are very important and too rarely praised.

Even after the text is written, there are a tremendous number of stages along the way to the finished book. If a publisher cares about the finished product, none of them will be omitted.

One of the ironies of being a professional writer is that, if you are even moderately successful, the very traits that let you succeed as a writer are not much help when the time comes to head out as 'The Author.'

To be a writer, you need to like spending a lot of time by yourself in the company of imaginary people.

There are other types of public appearances a writer does in addition to book signings and readings. Each calls for different skills. None of these skills, needless to say, are those that go into writing books.

I don't need music to write, but sometimes I put music on. I don't need special clothes or even my own equipment.

Writing - not being a writer with interesting habits - gets priority.

Sometimes I write less than I'd like but do research. Other times, editor's notes or a copy-edited manuscript or page proofs for a forthcoming novel mean that I need to put my attentions elsewhere for a day or two, but I always come back to writing.

I started seriously applying myself to writing fiction immediately after I finished graduate school. By 'seriously,' I mean that, instead of noodling along on a story, finishing it or not as the mood struck me, I set out to complete what I started, to polish it to the best of my ability, and to send out the finished story.

My first five novels were written longhand. So were hosts of short stories.

When I was finishing grad school, the hot new PC was the IBM 286. Bulky. Immobile. Expensive. I touched-typed easily and quickly, but nevertheless, I realized that the machine was a chain.

I've had over a dozen and a half novels published since late 1994 when my first novel, 'Brother to Dragons, Companion to Owls' came out.

I love print fiction, but sometimes when I'm reading a good graphic novel or manga, I find myself envying those who work in an illustrated format.

Words build a bridge between the imaginations of writer and reader, creating something unique between them.

'Thirteen Orphans' is the name of a specific limit hand. The same combination is also called 'Thirteen Improbable.' Once I'd decided I wanted to write a tale where mah-jong would be at the heart, I also knew I wanted to use limit hands.

True confession time: I never know where a book is going. I get a gut feeling the story is there, then pursue it with the enthusiasm of a hunting tiger on a trail. If I knew where I was going, I'd get bored out of my mind and stop writing.

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