Quotes by: Paolo Bacigalupi
When I think about myself as a writer, for sure I am a science fiction writer. The tools of extrapolation, the tools of anticipating the future - those are science fictional questions.
There are parents who are really angry that I decided to portray people who have come into the country illegally as decent human beings.
I think the fact that we, as writers, don't engage with resource-level questions is a symptom of our society where we just don't know where our stuff comes from.
A wise human would have an understanding of the supply chain and how the pieces fit together. But it's against our nature to think about it.
I'm not proud of it, but I'm a great liar when I travel. I smile and lie, and things are smooth.
Businesses that decide to be reality based and identify where they're vulnerable to climate impact, that start thinking about how to buffer against it, are going to be able to take advantage of shortages. When the water runs out, not everyone is in the same pickle.
When we live the 21st-century good life, almost every aspect of it is predicated on not looking at the implications of what we're up to. Happiness at this point has a lot to do with not looking, so you don't feel complicit in some vast and awful enterprise.
Originally, 'The Windup Girl' started as a short story - a very gnarly, complicated short story set in Bangkok that didn't work very well.
We're all happier when we know less, because the details are frightening and haven't really improved much. The more you pay attention, the more horrifying the world is.
I started really thinking a lot about where does a country go when we stop being able to speak to each other, when a nation stops being able to solve problems because its ideological differences become so deep that it just becomes dysfunctional.
The loneliest Chinese man I ever met lived halfway up the Three Gorges, in Sichuan Province.
I say I write extrapolations. I look at data points and ask what the world could look like.
When we talk about dystopias, especially in young adult fiction, a lot of them are essentially science fictional futures. They aren't necessarily tied to the traditional concept of dystopia. And so in that space, my impression is that kids love reading about weird, wild, adventurous places, and dystopia fits that bill.
I don't know why we choose to reach out to help another person, or why we decide that we can't, and withdraw and try to care only for ourselves, but I'm fascinated by that choice.
Science fiction has these obsessions with certain sciences - large scale engineering, neuroscience.
The things that have really gotten confusing to me is how you balance the desires of your publishers to produce things on a schedule, and people are always sort of giving you ideas on what you should follow up with or how you should proceed next and things like that.
Mostly I sat down and said, 'I'm not going to write a boring story.' And that actually, surprisingly, solves most of your problems.
I'm really interested in how conflicts arise and how they reach points of no return. I'm no pacifist. Sometimes force is necessary. But war is a choice.
I didn't think of myself as writing 'cli-fi,' but I'll take the label. I'll take any label that makes someone think they might be interested in my stories.
I'm definitely writing my fears. It's almost therapeutic to at least voice a terror, to say, 'I'm worried that Lake Powell looks low and Lake Mead looks even lower.'
I know people who have gone into career death spins, and that's something you're always aware of as a writer.
As far as 'Windup Girl' becoming a hit - none of us expected that. 'Night Shade' was just hoping not to lose their shirts, and I had grown up hearing from everyone that science fiction didn't sell, so all of our expectations were very low.
Fiction is optimistic or unrealistic enough to demand that there should be a meaningful narrative.