I work very much on the principle that anything created by mankind has mischief and error hardwired into its inception.

Agents and publishers only want one thing - good writing.

Class clowns become actors.

Every book should have a romance.

I have a very varied taste in music. Everything from rap to classical to Latino to Rat Pack to jazz.

I hope that in my books there's an undertone of politics, basic tenets of how we should live.

I just write books, and I do it without any notion of what I should do or shouldn't do.

I still feel threatened by academics, but my books have a lot of academic in-jokes and everybody assumes I went to university and studied English.

I'm not of the opinion that the next logical step for a book is for it to be made into a film.

I'm not sure my books would translate into movies very easily. So rather than have someone do a terrible job, I haven't been willing to sell them.

If you give children the freedom to do very little, quite a lot will do very little.

It took me ten years and seven books to bag an agent - it took me that long to start writing good.

People who read my books have an open mind when it comes to new, bizarre, interesting and exciting ideas.

Perhaps fantasy offers imaginative escapism more than other genres.

So my humor, I'd say, comes from a mixture of lowbrow comedy shows and highbrow theater. It's an interesting mix.

Speak to any editor and ask them what they turned down, and they'll have long lists of books.

The fun one can have writing books about books is limitless, to be honest.

There is a certain degree of 'steampunkishness' that creeps into my books.

There is a contract between the reader and the writer. The readers give me their hard-earned cash, and I have to entertain them.

When I was about 10 or 11, I realised that people made movies; until then, I had thought they just happened.