Ian Mcewan

It's good to get your hands dirty a bit and to test how you see things at a given point. And it's very pleasing after writing something like 'Atonement' or 'On Chesil Beach,' which are historical, to get involved in some plausible re-enactment of the here and now.

One important theme is the extent to which one can ever correct an error, especially outside any frame of religious forgiveness. All of us have done something we regret - how we manage to remove that from our conscience, or whether that's even possible, interested me.

You enter a state of controlled passivity, you relax your grip and accept that even if your declared intention is to justify the ways of God to man, you might end up interesting your readers rather more in Satan.

It got to the point where most of my time went toward writing novels. I would still occasionally write short stories, but only when I was commissioned by an editor to write for a themed anthology or special issue.

The historical novelist has to consider what has actually happened, while the SF writer is dealing in possibilities, but they are both in the business of imagining a world unlike our own and yet connected to it.

What Dred Scott's master might lawfully do with Dred Scott, in the free state of Illinois, every other master may lawfully do with any other one, or 1,000 slaves, in Illinois, or in any other free state.