Terri Windling

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

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 an artist, I'm not an academic folklorist.

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

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.

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

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.

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

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

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.

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.

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.