Richard Morgan, known as Richard K. Morgan in the U.S., (born 1965) is a British science fiction and fantasy author.
Certainly a decade and a half out in the real world, bashing my head against things, probably made me into a more textured writer. It gives you something to write about.
Take what is offered and that must sometimes be enough.
I've been accused countless times of writing gloomy futures. But to me, the texture of my sci-fi just feels like an extrapolation of current trends.
I think by definition you need to have lived a little bit to write anything that's humanly true.
We all get our dreams stamped on from time to time, right? And if it didn’t hurt, what kind of second-rate dreams would they be?
A preoccupation with the next world clearly shows an inability to cope credibly with this one.
Good authors mature over time: it does take awhile. Travel abroad and learn to live in other cultures. That's one of the things about teaching abroad.
War is like any other bad relationship. Of course you want out, but at what price? And perhaps more importantly, once you get out, will you be any better off?" - Quellcrist Falconer
The way I see it, anyone who's proud of their country is either a thug or just hasn't read enough history yet.
In the future, maybe quantum mechanics will teach us something equally chilling about exactly how we exist from moment to moment of what we like to think of as time.
Hand over your responses to the man who triggers them, and you have already lost the battle for self. Look beyond, and find yourself there instead.
I have so little patience with the whole Y. A. book thing. As far as I'm concerned, you either read books for children or you read books for adults.
The human eye is a wonderful device. With a little effort, it can fail to see even the most glaring injustice.
Science casts a long black shadow back over who we think we are, and where it falls the temperature falls with it. Its touch is chilly and unforgiving.
If they asked how I died tell them: Still angry.
For me, any fiction of nobles and swords necessarily has to be a story of corruption, injustice and savagely violent conflict - because any other treatment is going to have all the heft and realistic honesty of a bedtime fairy tale for five year olds.
A weapon is a tool," she repeated, a little breathlessly. "A tool for killing and destroying. And there will be times when, as an Envoy, you must kill and destroy. Then you will choose and equip yourself with the tools that you need. But remember the weakness of weapons. They are an extension--you are the killer and destroyer. You are whole, with or without them.
Syndicate is technically the first game I worked on.