As long as a film stays unmade, the book is entirely yours, it belongs to the writer. As soon as you make it into a film, suddenly more people see it than have ever read the book.
Even in my side of the world, I've been in publishing for what, 25 or 26 years, and it's gone from being a gentlemen's club to being a few big players, and it's very corporatised.
I don't really do themes. I might accidentally, but themes are an emergent phenomena of the writing of the book, of just trying to get a story out there.
I enjoy it too much - even if I knew I'd never get a book published, I would still write. I enjoy the experience of getting thoughts and ideas and plots and characters organised into this narrative framework.
In theory, I work an eight-hour day and a five-day week which means I can socialise with my pals who mostly have normal jobs like teaching and computer programming.
Science fiction has its own history, its own legacy of what's been done, what's been superseded, what's so much part of the furniture it's practically part of the fabric now, what's become no more than a joke... and so on. It's just plain foolish, as well as comically arrogant, to ignore all this, to fail to do the most basic research.
Technology determines the possibilities of society. It doesn't matter whether you start out from a fascist state or a communist state or a free-market state.
You get so caught up in what you're writing - action sequences tend to do that more than anything else because you're living it, and feeling for your characters.
Torture is such a slippery slope; as soon as you allow a society or any legal system to do that, almost instantly you get a situation where people are being tortured for very trivial reasons.