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I have this prejudice that trilogies are long, three-volume novels.

William Gibson

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William Gibson
Age: 76
Born: 1948
Born: March 17
Novelist
Science Fiction Writer
Screenwriter
Writer
Conway
South Carolina
William Ford Gibson
Long
Trilogies
Volume
Novels
Prejudice
Novel
Three

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I do not think an enormous permanent underclass is a very good thing to have if you're attempting to operate something that at least pretends sometimes to be a democracy.
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We see in order to move we move in order to see.
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There are bits of the literal future right here, right now, if you know how to look for them.
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I can't imagine writing a book without some strong female characters, unless that was a demand of the setting. I actually tend to suspect that in real life, there have always been very strong female characters, but at certain stages of society, they've been asked to cool it.
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If someone comes in and says, What are you doing, if I'm honest, the answer is, I don't know. But I'm doing THIS, don't know why.
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We are that strange species that constructs artifacts intended to counter the natural flow of forgetting.
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One of the liberating effects of science fiction when I was a teenager was precisely its ability to tune me into all sorts of strange data and make me realize that I wasn’t as totally isolated in perceiving the world as being monstrous and crazy
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I probably had something to do with being southern. For some reason, over the last few years I've been much more conscious of that. It's probably because my friend Jack Womack has a thesis that he and I write the way we do because we're southern and we experienced the very tail end of the premeditated south.
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The future is here - it just has not been uniformly distributed.
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Genuinely ubiquitous computing spreads like warm Vaseline.
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If you’re fifteen or so, today, I suspect that you inhabit a sort of endless digital Now, a state of atemporality enabled by our increasingly efficient communal prosthetic memory. I also suspect that you don’t know it, because, as anthropologists tell us, one cannot know one’s own culture.
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He took a duck in the face at 250 knots.
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I'm a reluctant writer of non-fiction, in part because I don't really feel qualified.
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All we really have when we pretend to write about the future is the moment in which we are writing. That's why every imagined future obsoletes like an ice cream melting on the way back from the corner store.
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I don't think of myself as being particulary a subversive writer, but I like to think that my work could afford someone else, the extra degree of freedom that I found when I first found science fiction.
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I think I'd probably tell you that it's easier to desire and pursue the attention of tens of millions of total strangers than it is to accept the love and loyalty of the people closest to us.
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People who feel safer with a gun than with guaranteed medical insurance don't yet have a fully adult concept of scary.
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I was afraid to watch 'Blade Runner' in the theater because I was afraid the movie would be better than what I myself had been able to imagine. In a way, I was right to be afraid, because even the first few minutes were better.
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In effect, I grew up in a sort of timewarp, a place where times are scrambled up. There are elements of my childhood that look to me now, in memory more like the 1940s or the 1950s than the 1960s. Jack [Womack] says that that made us science fiction writers, because we grew up experiencing a kind of time travel.
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I'm not a very intentional writer. I try to be as unintentional as possible. What I basically try to do is invite the zeitgeist in to tea.
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