I didn’t have the emotional range. I could only create characters who have really, really super highs and super lows—no middle. It’s taken me eight books to get to a point where the characters can have recognizably complex or ambiguous relationships with other characters. In Neuromancer, the whole range of social possibility when they meet is, Shall we have sex, or shall I kill you? Or you know, Let’s go rob a Chinese corporation—cool!
Paris Review – The Art of Fiction No. 211, William Gibson on the evolution – or growth – of his artistic skill.