I started in 1957 when I sold my first story to a magazine.
I was co-editor of the magazine called The Jazz Review, which was a pioneering magazine because it was the only magazine, then or now, in which all the articles were written by musicians, by jazz men. They had been laboring for years under the stereotype that they weren't very articulate except when they picked up their horn.
The first story I ever sold was to 'Argosy' magazine, which no longer exists. That issue also contained work by several other more celebrated writers, like Ray Bradbury - so I felt I had at least one toe on the ladder.
My favorite galaxy of all is called the Sombrero, NGC 4594. It's an amazing galaxy that is really two galaxies in one.
We haven't evolved a hero story that's female. We're always trying to fit women's stories into this male structure, which is this rising action, this powerful conflict, and this falling action. And I think a female hero story is not that. It's something else.
In a way it was a modern story but it played to all those 1980 slasher movies. We did the same thing with this. Patrick wanted to do a 1970's road movie and if you'll see, this is a modern story but it's got so much 1970's in your face feel to it. So that was the point, to take that stuff that we loved growing up and sort of do it for today. I think we accomplished it. We'll see.
When I was little I knew my father had been an orphan and had lived in an orphanage. I was curious, but my father wouldn't satisfy my curiosity. He told only one story about the orphanage, and that was of sneaking out and buying candy, which he sold to other orphans. He said he had a pretty good business going - till he was busted! I guess he told that anecdote because he was the hero of it and I suspect he was rarely the hero as a child, more often the victim. There's a photo of the actual orphanage on my website, and you can see it's a forbidding looking place.
The first science fiction show on television was 'Tales Of Tomorrow' using scripts from the radio show 'X-1' which used stories from 'Galaxy Magazine' as its source material.
If the director has a story, he will go directly to the hero. If I have a big hero in hand today, any big banner or corporate will come to me. But if I say I have a good story, they will ask if I have a hero.
I was writing very early, like I was involved in our high school literary magazine, which was called 'Pariah.' The football team was the Bears, and the literary magazine was 'Pariah.' It was great. It was definitely a real sub-culture. But I wrote stories for them.
You know, we're each the hero of our own story and we perceive what's going on around us, and especially in a relationship, from the kind of viewpoint of, 'Well, this is my story, and I'm the hero of that, and I justify what I do around it.'
In 1970, there was a single telephone company in the United States called AT&T, and its technology was called circuit switching, and that was all any telecom engineer worried about.
Every good story needs a hero. Back when I wrote 'The Search,' that hero was Google - the book wasn't about Google alone, but Google's narrative worked to drive the entire story.
I'm sitting in the bus station, minding my own business, reading 'Ta-Da!' magazine; a magazine by and for gay magicians, but that's a different story.
The cover story of the magazine [TIME magazine] depicting a few individuals who are acting contrary to most Myanmar, is creating misconceptions of Buddhism.
I have never sold my story, done 'Hello!' magazine, any of that stuff. I'm not guilty of exploiting my private life for cash and then saying, 'Oh, I don't want to talk about my private life.' I've never crossed that line.