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На сайте "Локуса" - отрывки из интервью с Тимом Пауэрсом:

Занятный фрагмент: “John Kessel said something like, 'Every good writer is constantly taking the risk of being made fun of,' and I want to tell them, 'Don't hide behind irony and tongue-in-cheek, boys and girls, and don't hide behind archaic, formal, stilted pseudo-Tolkien-type language, either. Step out from behind those things and write about characters you think are worth being paid attention to, who have problems you think are worth them paying attention to.' I suppose it's true for anybody starting to write fiction that you always do imitations. I was writing imitations of Lovecraft and Robert E. Howard when I was that age. (Mainstream people used to imitate Hemingway -- I don't know who they imitate now.) I try to tell them, 'Be aware that you will soon have to climb out from behind that.' "

Вот еще интересная информация оттуда:
"My next book is going to be set in Victorian London, which I actually haven't done before. Anubis Gates was a little before Victorian London, but this will be roughly 1880. It's going to involve the Pre-Raphaelites -- Millais and Rosetti and Rosetti's sister, that whole crowd. It's always fun when I'm doing my recreational 'idle reading' and suddenly get a couple of red lights on the dashboard, meaning, 'You might be able to set a book in this stuff.'

Про издательскую политику

Тони Вейскопф (Toni Weisskopf, полное имя Antonia Katherine Flora Weisskopf Reinhardt), которая нынче возглавляет "Baen Books" рассказывает в интервью "Локусу":

“Part of what led to the company's doing so many collaborations was Jim thinking about how we could grow our younger authors (people like Elizabeth Moon) and get them up to the level of shipping that they deserved, faster than just by publishing a book a year. He remembered what Larry Niven & Jerry Pournelle had done in their collaborations, and he thought he could reproduce their method and have a similar system work for our younger writers, paired with established older writers who didn't necessarily have time to write all the plots they wanted to write. We started out with David Drake, who plots like no one else -- he doesn't think it's hard! For him, it's like putting on his shoes in the morning. I'm not a writer myself, but I've met plenty of writers who say, 'I'd cut off my left foot to plot like he does.'
Выходит, это целенаправленное поощрение к соавторству молодых и опытных авторов. А как у нас? ;)

И немного про роль НФ: “Science fiction is inherently flexible. It's always going to grow with the culture, to reflect the culture. It's not like the Western, which is so tied down to one format it can't change. That's the neat thing about SF: it will always be able to answer the needs of the culture it belongs to, so long as that culture has a perception that looking to the future is a good thing. Without that you get no SF, so I'm hoping our culture will continue to have that! (It's what I'm betting the bank on.) One of the jobs of SF is to make sure our culture still does have that perception.”

Про армию. Американскую ;)

В предисловии к антологии военной нф "Future Weapons of War" Джо Холдеман (автор потрясной "Бесконечной войны") вспоминает войну во Вьетнаме и свои злоключения с гранатами и винтовкой М-16.
ВИФовцам должно понравиться ;))

( Цитата )