A Quote by Robert J. Sawyer
I'm often characterized as an optimistic writer, and certainly my 'Neanderthal Parallax' and 'WWW' trilogies shade toward the utopian. I like to think that's not simple naivete, but rather a reasonable approach.
Related Quotes
We have lots of Neanderthal parts around the lab. We are creating Neanderthal cells. Let's say someone has a healthy, normal Neanderthal baby. Well, then, everyone will want to have a Neanderthal kid. Were they superstrong or supersmart? Who knows? But there's one way to find out.
Reasonable men are not reasonable when you're in the bubbles which have characterized capitalism since the beginning of time.
I always think of shade as being full of light. That is why I like to use the word shade rather than light and shadow. Shade seems to play over the thing, envelop it, better define it, while shadow seems to fall on the thing and stain the surface with darks.
I think, when I wrote 'Children of Jihad,' I wrote it with a very optimistic view of what technology can do. Today I maintain that optimistic view, but I'm also aware of the challenges we have. So I would say I'm not a techno-utopian, but I'm a techno-pragmatist.
The most creative approach is often the simple approach.
There are varying degrees of shade. There is funny shade, warning shade, tea shade, and mean girl shade.
I couldn't be a writer without hope. I think I became a writer because I'm pretty optimistic.
I couldnt be a writer without hope. I think I became a writer because Im pretty optimistic.
In media coverage of the war, Afghans are often characterized as corrupt and deceitful. There has certainly been plenty of corruption and deceit in this conflict, but why? What inspires these behaviors? In 'Green on Blue,' I wanted to render a world that is often overlooked: that of the average Afghans who are helping America wage its war.
When any relationship is characterized by difference, particularly a disparity in power, there remains a tendency to model it on the parent-child-relationship. Even protectiveness and benevolence toward the poor, toward minorities, and especially toward women have involved equating them with children.
Fun, that's the word I keep on using. That's the word I worry about when other writer's scripts get too dark. Optimistic. Fun. And to be optimistic and have fun there's got to be a darkness there. I think that's a very British attitude.
Writer-directors are a little bit more liberal, rather than having just the writer on the set, because I think sometimes the writer becomes too precious with the words. If you're a writer-director, you can see what you're doing and see your work in action, so I think you can correct it right there and still not compromise yourself.
It's sobering to think of the seventeen chief justices; certainly a solid majority of them have to be characterized as failures. The successful ones are hard to number.
Maybe I can pull at my breast in a kind of futile attempt to develop a woman's breast. It's not that simple to become a woman. But I think what was important, when I think back on that work, is something like The Little Engine That Could. It's me saying, I think I can, I think I can. Though I'm doing something I obviously can't, it's the process toward it that is important. The will toward it, the effort . . . My work was about getting to a place that you couldn't get to.
If anyone asks me whether I like being a popular writer, I ask them whether they think I'd rather be an unpopular writer.
The simple approach is that if I stay aggressive, I'll hit less often with two strikes in the count. I've been aggressive, but I've missed pitches. If I can put them in play earlier in the count, I eliminate the two-strike approach.
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