I think that when we start thought-policing people and idea-policing people, then that's crossing a line. And I think, you know, everybody's so afraid of this imaginary line of thought police that they forget their own personal safety.
Imaginary obstacles are insurmountable. Real ones aren't.
One of the strange things about imaginary food is that it allows us to take pleasure in reading about things that we would never want to eat in real life.
Growing up as a chubby kid with a ton of imaginary friends and a Cyndi Lauper obsession, I learned about rejection early on and was constantly trying to avoid it.
I really could've been a good student, but I was always hearing an imaginary audience.
I want to make a drug. I want the science to be more than imaginary, where I think, 'We're learning these fundamental principles, blah, blah, blah, blah, blah.' I think we are doing that, but I want to do something really practical. I want to actually, in my lifetime, help people.
Science fiction is essentially a kind of fiction in which people learn more about how to live in the real world, visiting imaginary worlds unlike our own in order to investigate, by way of pleasurable thought-experiments, how things might be done differently.
From the viewpoint of the writer, the most significant aspect of fantasy and science fiction is that stories of these kinds are either set in imaginary worlds or feature the appearance in the familiar world of some imaginary entity.
Somewhere in this process, I begin reading and showing my book to my audience. When I say my audience, I mean a single imaginary child who is a blend of myself as a young person, the students in my wife's classroom of first- through third-graders, and the students from two classrooms I visit regularly in the Bronx, New York.