Terri Windling Quotations

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A field needs to keep growing and changing if it's going to maintain its vitality, and I was worried by the dearth of younger writers and editors with any real vision. In the last few years, however, I've been astonished by the number of new people who have been published who are really good.
A good novel editor is invisible.
A lot of the old folklore and fairy tales and myths are intensely dark, particularly once you get away from Victorian watered-down versions.
As I worked with writers and artists, it became clear that I was too envious of them; I wanted to be writing and doing art myself. And so I was editing throughout the '80s, but by the end of the'80s, I was leading a dual life. I was editing in New York and being an artist in Boston.
But for me, really, the written word is always stronger than film.
Editing an anthology, even though the stories in them are the work and creative children of the authors involved, you have more of an influence on the whole shape of the book. Your name is on it, you're providing the theme for it, whereas it's a whole different skill being a novel editor.
Filmmaking can be a fine art.
I came to New York, straight out of college, wanting one thing in life: to work on Jim Henson's film The Dark Crystal.
I divide my time between homes in Arizona and England, six months a year in each place.
I do think that we have writers today who are of the caliber of the great folklore writers of the past, like Hans Christian Andersen.
I don't like to trash anyone's fiction, really, unless it's written cynically. Then I wish it would just slink away with its tail between its legs.
I have a great respect for the academics who are working with the source material. My hat's off to them.
I hope that at least a handful of the writers working today with the old material will still be read 200 years from no.
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.
I tend to work on about 10 different things at once. I'm not a very linear person.
I think that it's the nature of folklore to be rooted in old tradition, and what's new is what we add to the old material.
I wanted to be a scientist. But I had no math skills.
I was a great fan of Jim Henson.
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'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.
I'm also looking for gems that the average reader might have missed.
I'm an artist, I'm not an academic folklorist.
I'm working on a very long series of paintings based on desert folklore.
I've been doing this for 20 years.
I've only been living in England for the last 10 years, if you don't count my student years.
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.
My book collection is primarily in America, since that's where I've lived most of my life.
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.
Read the folklore masters. Go to galleries. Walk in the woods. That's what you need to be an artist or storyteller.
Robert Jordan, whether he's writing with passion or not, I don't know.
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!
The fantasy field is very broad and I despair a bit when I see people fighting about what gets to be called fantasy.
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.
There are plenty of bad editors who try to impose their own vision on a book.
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.
There's that old adage about how there's only seven plots in the world and Shakespeare's done them all before.
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.
What I find interesting about folklore is the dialogue it gives us with storytellers from centuries past.
What I look for is a story I remember after I've read it... and one with an excellent mastery of the writing craft.
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.
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.