My favorite class as an undergraduate was a political theory class on justice. Now, 'justice' is hardly a self-defining term, and much smarter men than I have developed various definitions over the centuries. The class put Plato at one end and Nietzsche at the other, and off we went.

I don't do 'political correctness,' whatever that means. I write the stories I want to write, featuring the characters I want to feature. I don't touch demographic bases to appease this group or that. I write what I want. Full stop.

For me, 'The Hobbit' is an object lesson in storytelling, both in terms of characterization and story structure. It is an exemplar of storytelling in that regard.

I'm a transactional lawyer, which involves a lot of negotiation. If nothing else, that's given me a good eye for human motivation and frequent case studies in peculiar psychological quirks. I think that's served me fairly well as a writer.

A writer loses possession of her work as soon as it's reaches its audience. Each reader brings his own experience and prejudice and imagination to the work. Television adaptation just goes one step further, and the novelist has to learn to let go.

As an actor, there is room for a certain amount of creativity, but you're always ultimately going to be saying somebody else's words. I don't think I'd have the stamina, skill or ability to write a novel, but I'd love to write short stories and poetry, because those are my two passions.

I don't actually like explaining the meanings of my songs, because I think people can take away more from it if they use their imagination.

Scientists and philosophers tend to treat knowledge, imagination and love as if they were all very separate parts of human nature. But when it comes to children, all three are deeply entwined. Children learn the truth by imagining all the ways the world could be, and testing those possibilities.