genre

Times goes by your choice, if you make your days wonderful the days will go fast... and interesting and memorable.... If you do it in boring way they will go like watching a film which doesn't have something to make you get interested without games, crimes, horror, thriller, romance and every single other genre which you think without it the film is awful... but not only genre, but genres!

Horror, let's face it, is basically pretty dumb. You're writing about events that are preposterous, and the trick is to dress them up in language so compelling that the reader doesn't care.

His line was the jocundly-sentimental Wardour Street brand of adventure, told in a style that exactly met, but never exceeded, every expectation.

Writing the same kind of material is no guarantee you'll be working from the same ethos so that writers from different fields are just as likely to have an understanding of each other's work as someone working in the same genre.

Crime writers, I've noticed, can be jumpy. They live in a world where there are murderers on the loose and they haven't been caught yet!

As far as I'm concerned, you can't beat a good whodunnit: the twists and turns, the clues and the red herrings and then, finally, the satisfaction of having everything explained to you in a way that makes you kick yourself because you hadn't seen it from the start.

Border crossing' is a recurrent theme in all aspects of my work -- editing, writing, and painting. I'm interested in the various ways artists not only cross borders but also subvert them. In mythology, the old Trickster figure Coyote is a champion border crosser, mischievously dashing from the land of the living to the land of the dead, from the wilderness world of magic to the human world. He tears things down so they can be made anew. He's a rascal, but also a culture hero, dancing on borders, ignoring the rules, as many of our most innovative artists do. I'm particularly drawn to art that crosses the borders critics have erected between 'high art' and 'popular culture,' between 'mainstream' and 'genre,' or between one genre and another -- I love that moment of passage between the two; that place on the border where two worlds meet and energize each other, where Coyote enters and shakes things up. But I still have a great love for traditional fantasy, for Imaginary World, center-of-the-genre stories. I'm still excited by series books and trilogies if they're well written and use mythic tropes in interesting ways.

Those of our writers who have possessed a vivid personal talent have been paralyzed by a want of social background.

We can learn so much looking outside our core field of expertise.

The Cool Stuff Theory of Literature is as follows: All literature consists of whatever the writer thinks is cool. The reader will like the book to the degree that he agrees with the writer about what's cool. And that works all the way from the external trappings to the level of metaphor, subtext, and the way one uses words. In other words, I happen not to think that full-plate armor and great big honking greatswords are cool. I don't like 'em. I like cloaks and rapiers. So I write stories with a lot of cloaks and rapiers in 'em, 'cause that's cool. Guys who like military hardware, who think advanced military hardware is cool, are not gonna jump all over my books, because they have other ideas about what's cool.The novel should be understood as a structure built to accommodate the greatest possible amount of cool stuff.

Not writing is never an option. This is not words of advice. It's just literally never an option!

I think genre rules should be porous, if not nonexistent.

Sometimes people say that we're living in the future, and time's up for science fiction, but I think that never will be, because science fiction really isn't about the future. It's about change and present-day concerns

The world of technology has made it easier for people to get in touch with their modern muses regardless of the genres that they are trying to utilize and even if they create a new genre based on a mixing of others. The potential for modern-day muses is as vast as individual creativity.

Writing historical fiction has many common traits with writing sci-fi or fantasy books. The past is another country - a very different world - and historical readers want to see, smell and touch what it was like living there.

I know a lot of writers, and everyone works differently, but this is something that we truly have in common across all genres - the fiction has to be real inside your head.

I likes me some __hit Blows Up_ fiction, don__ get me wrong.

The problem lies not with genre but with formula, which consists of seeing genre conventions as restrictions rather than mere guidelines, ends in themselves rather than possibilities.