Terri Windling quotes:

When I was younger, I was in love with everything about the British Isles, from British folklore to Celtic music. That was always where my passions were as a young girl, and so I studied folklore as a college student in England and Ireland.

I like Celtic folk music, Native American music, and any kind of early music. There isn't a lot of music that I don't like... except for Show Tunes.

In more recent years, I've become more and more fascinated with the indigenous folklore of this land, Native American folklore, and also Hispanic folklore now that I live in the Southwest.

Magic Realism is not new. The label's new, the specific Latin American form of it is new, its modern popularity is new, but it's been around as long as literature has been around.

Robert Jordan, whether he's writing with passion or not, I don't know.

I divide my time between homes in Arizona and England, six months a year in each place.

The first job I was offered was as an editorial assistant. I think it was the best thing for me, in terms of being a storyteller by nature, to have spent years being an editor because I learned so much from it.

But for me, really, the written word is always stronger than film.

What I find interesting about folklore is the dialogue it gives us with storytellers from centuries past.

Read the folklore masters. Go to galleries. Walk in the woods. That's what you need to be an artist or storyteller.

I'd had no particular interest in the Southwest at all as a young girl, and I was completely surprised that the desert stole my heart to the extent it did.

I'm also looking for gems that the average reader might have missed.

Filmmaking can be a fine art.

There have been a number of us working very, very hard to bring myth and fairy tales into public consciousness, through fantasy literature and other media. I hope we're succeeding in some small way.

Though now we think of fairy tales as stories intended for very young children, this is a relatively modern idea. In the oral tradition, magical stories were enjoyed by listeners young and old alike, while literary fairy tales (including most of the tales that are best known today) were published primarily for adult readers until the 19th century.

There's that old adage about how there's only seven plots in the world and Shakespeare's done them all before.

I have a great respect for the academics who are working with the source material. My hat's off to them.

I'd like to encourage people to please keep reading-and most importantly, to please keep trying new writers. The only way we can bring fresh new material into the field is if people go out and buy it.

There are plenty of bad editors who try to impose their own vision on a book.

I wanted to be a scientist. But I had no math skills.

Once upon a time, they say, there was a girl...there was a boy...there was a person who was in trouble. And this is what she did...and what he did...and how they learned to survive it. This is what they did...and why one failed...and why another triumphed in the end. And I know that it's true, because I danced at their wedding and drank their very best wine.

One of the best things about folklore and fairy tales is that the best fantasy is what you find right around the corner, in this world. That's where the old stuff came from.

A good novel editor is invisible.

Since fantasy isn't about technology, the accelleration has no impact at all. But it's changed the lives of fantasy writers and editors. I get to live in England and work for a New York publisher!

We've always lived in dark times. There has always been a range of human experience from the sublime to the brutal, and stories reflect it. It's no less brutal now; each age has its horrors.

My book collection is primarily in America, since that's where I've lived most of my life.

I'm working on a very long series of paintings based on desert folklore.

There are plenty of bad editors who try to impose their own vision on a book. A good novel editor is invisible.

Fairy tales were not my escape from reality as a child; rather, they were my reality -- for mine was a world in which good and evil were not abstract concepts, and like fairy-tale heroines, no magic would save me unless I had the wit and heart and courage to use it widely.

Happiness is a talent like any other. It's another art form. Some people are good at it, some people aren't.

I was a great fan of Jim Henson.

I'm an artist, I'm not an academic folklorist.

I've only been living in England for the last 10 years, if you don't count my student years.

Once upon a time fairy tales were told to audiences of young and old alike. It is only in the last century that such tales were deemed fit only for small children, stripped of much of their original complexity, sensuality, and power to frighten and delight.

Our lives are our mythic journeys, and our happy endings are still to be won.

The fairy tale journey may look like an outward trek across plains and mountains, through castles and forests, but the actual movement is inward, into the lands of the soul.

The simple truth is that being a creative artist takes courage; it's not a job for the faint of heart. It takes courage each and every time you put a book or poem or painting before the public, because it is, in fact, enormously revealing.

There are plenty of bad editors who try to impose their own vision on a book. (â?¦) A good novel editor is invisible.

We're all misfits herefrom our weirdnesses and our differences, from our manic fixations, our obsessions, our passions. From all those wild and wacky things that make each of us unique.

We''re all misfits here," he says, almost proudly. "That's why I started this squat, after all. For people like us, who don't fit in anywhere else. Halfies and homos and hopeless romantics, the outcast and outrageous and terminally weird. That's where art comes from, Jimmy, my friend. From our weirdnesses and our differences, from our manic fixations, our obsessions, our passions. From all those wild and wacky things that make each of us unique.

When I started in the business, there was a thing called adult fantasy, but nobody quite knew what it was, and most publishers didn't have an adult fantasy list. They had science fiction lists, which they stuck a little bit of fantasy into.

Why are so many of us enspelled by myths and folk stories in this modern age? Why do we continue to tell the same old tales, over and over again? I think it's because these stories are not just fantasy. They're about real life. We've all encountered wicked wolves, found fairy godmothers, and faced trial by fire. We've all set off into unknown woods at one point in life or another. We've all had to learn to tell friend from foe and to be kind to crones by the side of the road. . . .