"OVER the years [Lawrence of Arabia] fared less well, however, with Lawrence specialists complaining that the film played fast and loose with the chronology of the Arabian campaign; and that the film's homosexualisation of Lawrence was at odds with what they believed to be the real man's asexuality and/or fear of sex.
"Lean dismissed these criticisms airily. He contended - with some justification - that the movie was historically accurate so far as the truly important questions were concerned. As to the suggestion that the film was pervasively homoerotic, he said: 'Yes. Of course it is. Throughout. Lawrence was very, if not entirely, homosexual. We thought we were being very daring at the time: Lawrence and Omar, Lawrence and the Arab boys.'"
-from David Lean's obituary in The Guardian, April 17, 1991 (full text, byline Jonathan Yardley)
"I suppose the character is public ground. If you're willing to bring it into people's houses every week, the [fans] are entitled to certain liberties, where ever their imagination is carried by those characters."
--Paul Gross (character Ben Fraser), Executive Producer of due South, quoted in the Toronto Globe & Mail, August 8, 1998
"As long as people aren't commercially exploiting characters I've created, and are doing it for each other, I don't see that there's any harm in it, and given how much people enjoy it, it's obviously doing some good. It doesn't bother me. (I can imagine a time and circumstances in which it might. But it doesn't.)"
-Neil Gaiman, author, in a blog post April 8, 2002 (full text, which is more detailed)
"What I'm bending over backward to do, and what I've gotten dinged for here, is let the sexual affiliation grow out of the situation, and not belabor it by saying things like "'OMG, Lalasa, you love other women!' gasped Kel. 'Well, that makes perfect sense, since your brother abused you and you hate men! I just want you to know I support you in your quest for tenderness!'"
"Lark and Rosethorn's sexual orientation wasn't a vital part of their part of the Circle books, which was managing four very powerful, very damaged, very intelligent pre-pubescents. [snip] I had to cut Thom and Roger because LIONESS RAMPANT was only 200 pages long, which meant I had to cut wads and wads of material and use only the main plot: Alanna undergoes trials and comes home to build a stronger realm. I didn't make a big thing about Lalasa and Tianne because in FIRST TEST and PAGE I was still being held to 200 pages a book, and the only person's story I had room for was Kel's."
-Tamora Pierce (author) in a post on the Sheroes forum, August 23, 2004 (full text and alternate full text, which may not last given the nature of forums)
***
"I can think of one really good reason for me to steer clear of outright polyamory: too many plot lines! I'm breaking out in a rash already! (TRICKSTER'S QUEEN ruined my tolerance for complex plot lines in my own books.) "And yes, confirm it here, Lalasa and Tiane are a couple. They're always together after a certain point, and Tiane comes completely unglued when Lalasa vanishes. She's also waiting there for Lalasa when she and Kel come down. "Lalasa doesn't throw herself into Tiane's arms because she dislikes and mistrusts men. She likes and trusts softness, slowness, sweet voices, curves, and gentleness. She would never be attracted to Kel, because Kel is muscular, hard-bodied, and crisp. She adores Kel--she gives Kel credit for rescuing her life and giving her a fresh start--but she has never felt sexual about Kel and never would."Return to With Gleaming Starlight
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