"I was thinking, earlier, how there's this stigma attached to "writing for money" and how odd that is, as though writing is akin to sex and writing for money is akin to prostitution in the minds of so many people. Whoring with adjectives, so to speak. Do I give good prose? Look up the definition of "hack." So, there must be the perception that writing, like the priesthood, comes with some higher purpose in tow. Getting paid well somehow sullies the purer cause. I've heard writers dismiss something or another that they've written by explaining, "Oh, yes, I know that sucked, but I only wrote it because they paid me so much money." And then we might even forgive them a piece of crap, because we have a sensible explanation. That wasn't a real orgasm. I was only faking the plot. Dorothy Parker and F. Scott Fitzgerald and William Faulkner in Hollywood."

“A writer who does not write is nothing. One may as well be a fisherman who doesn't fish, a stripper who doesn't strip, or a beggar who doesn't beg.”

“I sincerely hope I'm not as big a fool as that. Whatever else I may be, I like to think that I'm not an idiot.”

“Orpheus' mistake wasn't that he turned and looked back towards Eurydice and Hell, but that he ever thought he could escape. Same with Lot's wife. Averting our eyes does not change the fact that we are marked.”

“I want to build vast machines of light and darkness, intricate mechanisms within mechanisms, a progression of gears and cogs and pistons each working to its own end as well as that of the Greater Device. That's what I see in my head. But, too often, I sense that many readers want nothing more complex or challenging than wind-up toys. It's dispiriting.”

“Art is not science. Even when art is about science, it is still art. There cannot be consensus, in the sense that science strives for meaningful consensus. And unlike science, art is not progressive. Personally, I have my doubts that science can be said to be genuinely progressive, but I'm pretty dammed certain that art is not. Which is not to say that it is not accumulative or accretionary. But the belief that sf writers are out there forecasting the future, that they have some social responsibility to do so, that's malarky, if you ask me. Writers of sf can only, at best, make educated guesses, and usually those guesses are wrong, and clumping together to form a consensus does not in any way insure against history unfolding in one of those other, unpredicted directions. People love to pick out the occasional instances where Jules Verne and William Gibson got it right; they rarely ever point fingers at their miscalls.”

“Pain, Wonder, and Really Old Things: An Interview with Caitlin R. Kiernan”