Showing posts with label Interviews. Show all posts
Showing posts with label Interviews. Show all posts

Interview with Steven Erikson

Do you faithful readers want to know the absolute best part of this whole book review blog thing? Author interviews. Just being able to get a few minutes of an author's time to ask him or her those questions burning in our minds. It's completely fantastic. What makes it even better is when we get to interview one of our absolute favorite authors, and he is completely open and honest in his answers. Steven Erikson falls in this category for us. The guy completely blew us away with his writing, and then outdid himself with his humble answers to our questions.

***The Interview***


Elitist Book Reviews: Steven, thank you so much for chatting with us for a few minutes. We want to start off by giving you a few moments to brag a bit. What do you think makes your series so great?


Steven Erikson: If I was to brag about this series I would have missed the whole point of my own series, which would be a bad thing. For me writing is an exercise in humility. It always astonishes me when I prowl the hate-box (funny how the internet was meant to be a love-box, only to have it increasingly sway in the opposite direction … well, not funny. Disturbing) and read from fans of the genre comments on my coming across as arrogant, either in interviews or in my fiction. For my own sanity I can only assume that by subverting the tropes of the genre in my fantasy fiction, I am somehow perceived as attacking the lovers of the genre, which I am emphatically not doing. I grew up reading and loving the same stuff they’re now reading: but as a writer I wanted to twist it a little, do something different, and avoid the lazy route of reiterating what other writers have already done. This has landed me in the occasional shit-storm, where fans in their tribes feel it necessary to put down other writers in order to build up their favorite writers. Uhm, it’s not a competition, mates, and when I’m being judgmental, it’s self-directed. As writers we each participate to make up the whole genre, and it’s a big, flexible genre. For myself, I do hope that fans of my work read and enjoy as much fantasy fiction as is out there, and to forever remain open to new voices; and, most importantly, to not feel threatened by new takes on the genre. You lose nothing by being open-minded and you lose everything when you shut the door, bolt the lock, and hide from every challenge.

Your question alarms me in that you assume that I feel my series is great. That’s for readers to decide, not me. I did the best I could, with what talents I possess. It’s done, it’s out there. Maybe it’ll swim, maybe it’ll sink.


EBR: THE CRIPPLED GOD is out—and it is fantastic. It’s been a long and epic ride. What kind of emotions are you feeling with the conclusion to this ten-book portion of the story?

Erikson: Exhausted, emptied out, relieved. In The Crippled God I was writing towards scenes I had imagined in my head for nearly a decade. The pressure was immense; in fact, this whole series has been written with that pressure. It was a huge series, written out of heart-break, and for me it was a long, drawn-out search for hope. When it was done, I felt numb. Didn’t write a word for six weeks – my longest drought ever as a professional writer.

When I am asked for advice by beginning writers, I always say ‘finish what you start,’ and it turns out that advice was as applicable to me as to them. I finished what I started and that is a good feeling indeed. In fact, it’s the real reward to all this, because it means that you can walk away, head held high – and I recommend it to everyone, in all endeavors you may undertake.


EBR: What was the most difficult part of writing this series? What was the most enjoyable part?

Erikson: I suppose the most difficult part of writing this series was sticking to my guns, from start to finish. I’ve taken a lot of hits, book after book; and while there has been appreciation from fans it’s often the case that the vitriol cuts through to leave a bitter taste, while the praise washes off. In the end, comments from others, both positive and negative, only reach in so far. The core of desire remains inviolate, but it’s taken a beating at times. The most enjoyable part follows on from this, in that I didn’t waver, or give up, or lose interest, and now that it is done I can look back and, barring a frenzy of book-burning worldwide, the series is out there, done, and will remain for as long as readers enjoy it.


EBR: What is the area of your writing that has improved the most?


Erikson: I don’t know, to be honest. I’m not afraid of complexity, I suppose, though in the beginning I wasn’t about to let my fear stop me, so youthful stubbornness and brazen determination has given way to bemused faith in the process. I guess I learned to trust myself.

That said, writing is not about opinions, not about answers, not about solutions. It’s just a way of searching, and people either come along with you in that search, or they don’t. Used to be I tried to write as inclusively as I could, but really, it never worked for me. I long ago gave up on the notion of universal adoration, and for all my supposed brilliance, I’d still fail Grade Eight math. Now, before that gets quoted out of context (as if I can stop that), no, I don’t suppose I am brilliant. If I have virtues pertaining to all this, they are all double-edged. Patience with stubbornness; ambition with crushing doubt … the usual crap, mostly. In the end, we’re all mirrors to each other. Call me names at your peril.


EBR: Your novels are large. Door-stop sized even. How is it that you have been able to keep such a firm and consistent release schedule in a day where huge delays have seemingly become the norm?


Erikson: As you might glean from my answers to the questions thus far, what kept me going was desperation. I needed to get this damned thing done, if only to discover what the world was like once the series was behind me. There’s a poem in The Crippled God, to open the epilogue, that pretty much sums it up, as it addresses both my core belief and my core uncertainties. It was written in that closing moment of exhaustion, both physical and spiritual, when the only voice left is an honest one.


EBR: Your co-creator, Cam, has improved in his craft dramatically from book to book. What makes him such a good compliment to your own style and your own writing?

Erikson: From the very beginning, in creating this world via roleplaying, it was always an even exchange. I made up characters who interacted with his storylines, and he did the same with his characters acting in my storylines, so everything in the Malazan world has both of us in it. It’s the same when we get together in person: no matter how much time we’ve spent apart, living our own lives, we immediately fall back into that comfort of friendship and shared vision.

It just sort of happened that we ended up meeting on an archaeology dig, spent a few summers working together in the wilds of Northern Ontario (living in the town of Neil Young fame, helpless and hopeless indeed), and became lifelong friends in the years that followed.

You’ve all had this in your lives, I’m sure. The friend who, no matter the distance in miles or years, can just step in time with you the moment you reunite. That said, we’ve been through a lot of stuff together, me and Cam; in many ways, we still write to an audience of one, that one being each other. We’re in conversation, via our novels. It was always a conceit that anybody else would be interested in that conversation. Luckily, a few people were, and are.


EBR: Is there anything you wish you could have done differently since becoming a published author?

Erikson: These kinds of questions are almost impossible to answer. I wish I could have become a full-time writer about ten years before I did: I worked a lot of jobs, some of them soul-destroying; and we spent years being dirt poor (it didn’t help that I grew up poor as well) … but if that had happened, would I be the same writer? Would I have written the same stuff? Who knows. I’m just thankful for what I have.


EBR: The Malazan Book of the Fallen has come to a close, but you have other Malazan tales in the works. What should the masses look forward to in the coming years?

Erikson: I have signed for two more trilogies. The first one (which I’ve already begun) takes us back into the distant past in the Malazan universe. Once that’s done, I will be picking up the tale of Karsa Orlong in the second trilogy. If I can, I will write some other stuff as well, including more novellas and non-Malazan tales.


EBR: Again Steven, we are so thrilled that you were able to chat with us for a bit. Any parting words for our readers, and can we expect to see you at any conventions in the near future?

Erikson: I enjoy conventions and have a few I regularly attend, though I am always open to new ones, depending on my schedule.

Parting words to your readers? Be well, be kind, unwind…

Cheers


Interview with Ian C. Esslemont

We were recently offered the opportunity to interview Ian Cameron Esslemont (Cam), author of NIGHT OF KNIVES, RETURN OF THE CRIMSON GUARD, and STONEWIELDER. We first met Cam at World Fantasy back in 2009, and we were immediately impressed by his openness and enthusiasm. It was one of those situations where you meet an author for whom your exceptions are unrealistically high...only to be easily met, and then just as easily surpassed.

***The Interview***

Elitist Book Reviews: We want to start off by thanking you, Cam, for taking time out of your busy schedule to chat with us for a bit. Our tradition at Elitist Book Reviews is to start off by letting the author brag a bit. Tell us why you are awesome, and why everyone should be reading your work.

Ian C. Esslemont (Cam):
Brag? Well, what I will say is that among the groaning fantasy shelves the World of Malaz is different. If you are tired of the predictable hero-beats-villain-gets-girl fantasy staples and are looking for something a little bit more challenging, then Malaz is for you. The series is, for better or worse, more like the realpolitik of life. All is shades of grown-up moral grey and the good guys don’t necessarily win. In fact, it’s rather hard even to find any good guys – which is not to say there is no one to root for. There are plenty of individuals to identify with and we follow their fortunes, their mistakes, and learn with them. If a great number of fantasy series aim to embrace the reader in the glow of medals earned through perilous trials and set-backs – the drama of expected rewards, then in Malaz I believe Steve and I are more interested in inviting the reader to share in the wrenching conflicts of being human, which is to say – the drama of tragedy.


EBR: With every novel you seem to get better and better—your war scenes, specifically, are some of the best out there. A measure of growing confidence can be seen in your writing. Where do you think you’ve improved the most, and where do you think you still have room to grow?

Cam: Many thanks for that generous evaluation. I believe that what you mention is exactly where I have allowed myself to grow: in confidence. Early on I wouldn’t explore much of what I do now simply because I wasn’t sure I was ‘allowed’ to, so to speak. Now I’m more inclined to just go for it, reasonably confident that the reader will give me the rope necessary. As to where I might still have room to grow, yikes! I feel that there’s still plenty of room for me to explore all the aspects and elements of story that I hope to.


EBR: How much feedback do you get from Steven when writing, and how much do you typically give on his own work?

Cam: Currently, the feedback has actually been far slimmer than many would assume, I think. The time for most of that has passed. We shared enormous feedback in the mutual creation of the world. It was a dialogue in which we hammered out all to come later. Since then the feedback has been more ‘global’ judgments (as they say in creative writing workshops), as when I read a finished manuscript from Steve and give it the ‘thumbs up’ or he does the same for me. Occasionally, one of us would get snagged on a particular plot or character problem or such and we would kick it around together to come up with a resolution. For example, in my upcoming fourth: Orb Sceptre Throne, I tackle Kruppe and so I can tell you I was very apprehensive. I talked that one over a great deal with Steve – he even suggested how I might resolve that particular plot thread. Likewise, he knows I’m dealing with Jacuruku next and so he asked how I was developing the Ascendant Ardata.

That’s the nature of the feedback right now I guess: plot and character specifics, world continuity, shuffling options for greatest effect, that sort of thing.


EBR: Do you have any plans for a few short stories/novellas of your own?

Cam: Actually, yes. Steve has encouraged me to tackle tales of the early ‘Empire’ in the form of novellas similar to his Bauchelain and Korbal Broach series. I am also interested in what happens to Shadowthrone and the Rope and their realm after the point that we leave them off. So that is another possibility as well. Unfortunately, I’m not as fast a writer as Steve and I have a full-time day job of looking after my sons. So I am currently hard-pressed in managing to keep up with one novel a year as it is. Next year, though, I believe I may have more time available to explore those works. I hope so. And I hope the readers would be interested in hearing those stories.


EBR: What made you decide to focus on the “old guard” in your works? Was it specifically planned by you and Steven?

Cam: It was planned. In our division of stories and arcs these were the areas I wanted (at least that’s the way I remember it). Or perhaps it just worked out that way. In any case, it wasn’t all that formalized with barriers or ‘turf’ so to speak. Nothing like that. We both merely went where our interests took us and compiled a master list of some fifteen or so possible novels, or projects, which would constitute the main arcs. That list goes way back.

I’d like to take this opportunity, if I may, to address this issue of collaboration. Many times Steve and I have heard people express surprise at what we have accomplished together and at our continued cooperation in this creative project. For neither of us it is a surprise. I’m not sure why, but perhaps it is generational, and, to an extent, professional. In the field of archaeology he and I saw firsthand the bitterness and division the old-school approach of possessiveness and professional rivalry can generate. Unlike this old model, neither of us sees the other’s success as our failure. Rather, each of us sees the other’s success as adding momentum to the larger project. Burnishing it further, if you will. In anthropology there is an old concept of societies that subscribe in the idea of ‘limited good.’ This is an ancient worldview wherein any good accruing to another, a neighbor or relative, means there is less ‘good,’ or fortune, remaining for you. Suffice it to say that neither Steve nor I subscribe to it.


EBR: You are three novels into your series. What has been the highlight of it all so far?

Cam:
Well, by far the biggest so far is just getting into print in the first place. Given that, the appearance of Night of Knives, real and physical, would be that highlight. Other than this the contract with Bantam for four more novels was of course another. On the larger scale, so far I believe I’m lucky in being able to say that each work has been the highlight to date. I felt that way about Return of the Crimson Guard, with Stonewielder, and now with Orb Sceptre Throne as well.


EBR: If you had to recommend someone a novel/series, what would be the recommendation? No cheating here by recommending your own or Steven’s.

Cam: Oh dear, this is a tough one because I’m reading more nonfiction for research and such right now. What I do wish to put in a plug for (as if he needs one from me) is the SF of Iain M. Banks who deserves far more attention here in the US. I am reading fantasy series with my lads and so can speak to the target age of about ten years old or so. Here, I quite enjoyed the ‘Last Apprentice’ series by Joseph Delany. I feel that he did a fantastic job of evoking a harsh and very dark ‘real’ world that is actually quite creepy (at least for us adults reading along).


EBR: What does the future of your series hold for the readers?

Cam: As I mentioned, Orb Sceptre Throne will be out next. It is set in Darujhistan and follows up on Toll the Hounds quite closely. It is thus more or less contemporaneous with Stonewielder. Right now I am working on the next of the series, which follows events unfolding upon the continent of Jacuruku. The working title for this novel is City in the Jungle. After this (everything having worked out) I hope to tackle the final work of the main arc, which is titled, Assail.

That is the main sequence for Malaz. If I somehow find extra time there are SF projects I’ve had my eye on for some time now. I can only hope.


EBR: Thank you again, Cam, for dropping by. It has been a true privilege for us. Any parting words for our readers, and can we expect to see you at any conventions in the near future?

Cam: Yes, Steve talked me into coming to the World Fantasy Convention and I quite enjoyed it. Now we both try to make it so we can hang out together for a time. This year it is in San Diego and I hope to make it. After that, I understand it will be in Toronto and so Steve and I really ought to make that one!

Many thanks to everyone at Elitist Book Reviews. It has been great having the chance to talk over all things Malaz.

Cheers, Ian C. Esslemont.

***


James Barclay Interview

You all know by now that James Barclay has become one of our favorite authors. Action. Character. Tragedy. Humor. Love. He somehow manages to blend all these themes perfectly. So when we got the opportunity to interview James, we jumped on it with fanboy glee.

So here you have it...

***The Interview***

1. Hello there, James. Glad to have you here at our illustrious blog. Our tradition here at EBR is to give the authors we are interviewing a chance to brag. So let loose, James. Tell us what makes you and your novels awesome.

Hello. It’s lovely to be here and sit for a while where I normally drop in only too briefly. Brag, eh? Well, you know how we authors hate to talk about ourselves in any but the most self-deprecating ways but I’ll do my best.

It’s like this. My books are awesome (good word, that) because they’re fantastically exciting heroic action fantasy thrillers and because they are so much more than fantastically exciting heroic action fantasy thrillers. That’s (partly) because every blow in every fight lands in one of my readers’ hearts. And THAT’s because there is a moment, in every Raven reader’s journey, when it dawns on them that they really, really care. They feel like they are reading about family and that makes the wounds hurt, the tears sting and the laughter the purest of releases. And there is nothing they can do about it. (And can I just say at this point for those of you who didn’t wait until that happened, it is absolutely your loss. Absolutely.)

All this means that I am not awesome. The awesome people are the readers who get The Raven. Get the facts that while they are extraordinary individuals, they are prey to the same things as the rest of us; love, loss, grief, fear, laughter. They bicker, they moan, they fight and they would die for those they love. And in amongst all that, they struggle to save their world for the ungrateful, the unborn and the unworthy. This is what heroes do.

Ah, now that means The Raven are awesome, doesn’t it? And I created them. So that makes me awesome too, doesn’t it? Excellent. Then all is well with the world.


2. We’ll start with some easy questions before we put your feet to the branding irons. When was it that you realized you wanted to be an author?


I was eleven. A tender age indeed but it was then that I made both my career choices. Actor and/or writer. Simple really and a triumph of youthful optimism over common sense. On the other hand, since I’ve now published ten novels and two novellas plus just recently appeared in a feature film, it all makes perfect sense.

3. Give our readers a little back-story on how you got published.

You have to understand that I have always loved writing stories; right from infant school, as soon as I could write. So a back story could be a gargantuan exercise, a bit like the long form version of Marx’s ‘Capital’. So I tell you what, I’ll start when I was sixteen and began to take it all rather seriously.

It was at that time that I began to write the most horrific derivative bunch of toss. Some might say I never stopped doing so but they are few and even now, they are being hunted down. I wrote a novella length thing for an English project and I was in competition with my mates for body count. Next was a pompous fantasy/sci-fi fusion for another school-based project and following that a proper novel length piece that was really a long Star Trek episode. I mention all these because within them are the germs of the character and action-driven novels I eventually published. And to point out that, at sixteen I was an embarrassing distance from being publishable.

Happily, I can fast forward to the time it became apparent that The Raven was a proper idea, worthy of expansion and eminently publishable so long as I could imbue the story with enough quality and other writerly stuff like plot, character and a coherent narrative structure. It’s no secret that the genesis of The Raven was table-top dice-based fantasy role playing and readers of Dawnthief will no doubt sense that though it is not apparent (in my mind anyway) in Noonshade and beyond.

I remember very well, my twenties and the various iterations of Raven novel ideas and how they began as a sort of comedic entity shot through with horrible violence and ended up the grumpy but magnificent world-savers we know and love. I submitted Dawnthief all over the place, along with much other work, and have many a rejection slip to show for it.

Mine was the classic patience and belief journey and it was not until I submitted to Gollancz the first time that hope was truly kindled. Even then, the comments were not wholly positive and amounted to a rejection with an invitation to resubmit. ‘The idea is fine.’ I was told. ‘But the book is like a skeleton with no flesh on the bones. The world is incomplete and there is no notion of existence beyond the sphere of the main characters.’

That is not a direct quote but it sums up the conversation pretty well, I think. But I took it as massive encouragement and to cut a long back story slightly shorter, I worked my arse off to improve what I had and nearly did it second time around. Third time around, I got the call every aspiring author dreams of. I only filled up when I saw Dawnthief on the shelf for the first time. That’s the moment when you know it’s all for real. That was 1999.

4. Elves. We typically hate them. For whatever reason, yours don’t rub us the wrong way. Lately there seems to be a collective eye-roll when elves are mentioned in the synopsis of a novel. Why did you personally decide to go with elves in your Raven stories, and why start another series that focuses on them?

I don’t think I ever thought about not going with elves. They were present in much of the stuff I read as a youth and were always there, irritating the crap out of my characters in role playing games so to me, they’re part of the family.

I also didn’t ever think: “Hmm. Got elves here, I really need to make them different.” They just came out as they came out. Now of course, they are different from the more classical ideals of the trope and I think that has helped me a great deal because people aren’t reading about the hoppity, skippety, portentous-speaking, effeminate horse-riders they are used to.

But I think the key to writing a well-worn trope like elves is not to keep on reminding people they are elves. You have to remember that they are as unremarkable in the fantasy worlds they inhabit as are humans. So readers find out about them by degrees just like any other character. And, in the same way I don’t remind you a human doesn’t have pointed ears, I don’t remind you that an elf does. My elves are different by dint of their culture, their homeland and their religion. Just like humans, then.

As for the Elves series well, for every reader who cannot bear our faerie cousins appearing in a fantasy novel, there is another who cannot get enough quality work about them. This was of course of interest to the commercial side of the Barclay/Gollancz partnership. There’s more to it than that, mind you. The elves of Calaius have been a fascination to many of The Raven’s readers, particularly the TaiGethen but for the whole elven cultural package too. And I have grown to love them and have wanted to write more about them for years.

And why not? Rain-forest dwelling, isolationist and super-religious beings liable to remove your liver and show it to you before you know you’ve been attacked are fascinating on many levels.

They have complex societal and religious structures tied to the rain forest and what it gives them. They are subdivided into ‘threads’, each of which has a different typical lifespan and this has been the seat of every inter-racial problem they have ever experienced. The protectors of their faith, the TaiGethen, are an elite fighting force like no other in fantasy and every action they take is in the name of their god.

They are an incredibly proud and ancient people who cannot quite reconcile themselves to their own internal problems. And then some idiot goes and invites humans in to shift the balance of power. And shift it they do.

Enough of that. Suffice to say that I think my elves are a genuine breath of fresh air in the genre. The first Elves book, Once Walked With Gods, is my best-selling trade paperback so far. That’s because it’s really, really bloody good, by the way.

5. How has the reception been to your release of novels here in the US? Why did it take so long for them to make their way over here?


It’s been really positive, thanks. The Chronicles trilogy sold very well and was positively reviewed by some exceptional review sites. Can’t think of any particular names off-hand… I’ve had great feedback from readers too and that is particularly gratifying. Of course we could always sell more and I firmly believe it is incumbent on every man, woman and child in your vast and magnificent country to furnish themselves with Chronicles novels. The Legends series is only just coming out now so it’s too early to say if they’ll repeat the goodness; but if the early reviews, and Raymond Swanland’s astonishingly fine covers are indicators, then we should do very nicely indeed.

Why did it take so long? I haven’t a clue. It wasn’t for lack of trying. Sometimes I think books slip between the cracks in the pavement however well they do in other countries and such it was with mine. That’s life. I know that Lou Anders at Pyr Books was surprised to find the rights still available and I’m really grateful to him for getting them on US shelves. Sure I could have wished to have been published in the US ten years ago but then I’d not be working with Lou Anders and frankly, that was worth waiting for.

6. In a similar vein, why oh why aren’t your Ascendants of Estorea novels here in the US? Can our US readers expect them anytime soon?

I think with the Ascendants the scene is a little different. I know editors in the US looked favorably on them when they were first written but the sheer size was off-putting – don’t forget they would have been my first books published in the US and would have been a tough sell. The first book is three hundred thousand words long and that would have represented a major leap of faith.

If the Raven sell well enough through Pyr then maybe they’ll want the Ascendants too but that’s in the lap of the gods and Lou Anders. Is that tautological? Probably. Anyway, I do hope US reader get the chance to see the Ascendants. I’m immensely proud of those two books – about the birth of magic in a Roman-esque empire teetering on the brink of implosion, and manifesting itself in four young people – and again they’ve garnered plenty of praise over here in the UK.

We’ll just have to wait and see.

7. How far ahead do you plan novels? Your Elves series is going strong in the UK, but have you thought past it at all?

Generally speaking, by the time I’m in the final throes of a series, I’ve got firm ideas and a proposal for new novels, series, whatever. Right now, I’ve got many notions running around in my head. Some are stand-alone and others are multi-book sequences. But I don’t spend too much time agonizing over these things when I’m bang in the middle of a series like now. Ideas suggest themselves and I write them down. There, they ferment away and some demonstrate great potential while others dissolve or are subsumed into other, better notions.

By the way, I’m diversifying slightly as well. I’ve got a young adult trilogy out on proposal at the moment and we’ll see what comes of it. I’ve many other YA ideas too right now which is a good thing. They’re all within the broad church of our magnificent genre but more contemporary in nature.

8. What do you consider your greatest weakness as an author?

I’ve always had this tendency to charge into drafting a novel before I’ve tied down enough of the direction, plot, character development and all that stuff. Once or twice it has worked spectacularly well but more often than not, the opposite is true. I’d like to tell you that I’ve eradicated it from my working life but that would be a massive lie.

The first Elves book was, I thought, going terribly well and then I read a good chunk of the draft and had to start from scratch because it just wasn’t working. The same happened with the second book. I think it stems from me being able, in the past, to hold so much more in my head in terms of the complexities of a novel and now I can’t do that nearly so well.

The positive I take from it is that, in the past, I might have tried to mould what I had into something acceptable and then have an almighty struggle come editing and revising to make the book right. These days, painful though it is, I’ll stop, file the original under ‘utter bollocks’ and start again to ensure the result is of far higher quality from the first completed draft. It saves a lot of time (and certainly a lot of hassle) in the long run but at the time, it hurts baaaad.

9. Who do you consider your main influences?

First up has to be David Gemmell. First I was a fan devouring every book and later, hugely fortunately, a very good friend of his. We spent many a fabulous hour jawing away over things like the nature of heroism, how to make fights better, ways to develop character and the state of anything and everything. His attitude to work and his fans, his methods and his sheer professionalism have affected me greatly. I will be aspiring to his heights in all of these things forever.

The other main one is not a who, it is a single book. It’s ‘The Legacy of Heorot’ by Niven, Pournelle and Barnes. Bloody hell, what a book and what an influence it had. For me, this is the only text book you need on how to write character driven action novels in probably any genre. If you want to write that sort of stuff, then once you’ve read my books (having bought a pristine set), then go get the source text. It sets the bar high, very high.

Inevitably, all my influences stem from my formative years and from before I began to write novels with a ghost of a chance of being published. I don’t feel I’m influenced by any of my contemporaries. For those I rate highly, I reserve emotions such as jealousy, awe and massive respect.

10. When you aren’t writing or planning your next novel—we know right? How dare you do anything but write!—what occupies your time?


The demands on my time are many and various. Number one is my son, Oscar, who is four in January. Watching him learn, develop and grow, and engaging in all his play and his imagination is simply joyful. For another, I’m chief cook in the house and get bored of recipes easily so I like to experiment if I get the time. Then there’s the dog. She’s sitting with her chin on my thigh at the moment and if I should misspell a word anytime, it’ll be because she’s nudged my arm for some attention.

Because I’m nearly middle aged, I do like pottering around in the garden and because we own an old house, there is an endless list of repairs and the like to keep the place upright and passably smart.

Increasingly rarely now, I play computer games. I’m a PC gamer though Oscar and I muck about on the X-Box Kinect and the Wii from time to time. Nothing beats a quality shooter and of course, the daddy of them is Call of Duty: Modern Warfare. When the elves book is done, I’ll go back and play that again, then play its slightly lesser sibling before charging into book three (see question 8 above ).

I watch TV but only either late at night or at lunchtime when I get to catch up a little bit with stuff like Stargate Universe and The Walking Dead. I hardly read at all… only for research these days.

The fact is that fatherhood is the dominating part of my life after the day’s work is done and quite frankly, I wouldn’t have it any other way.

11. You’re in a bookstore, in the SF&F section, and a customer mistakes you for an employee. He/She asks you to recommend a novel. You can’t recommend your own novels (because OBVIOUSLY the customer has read them all). What book/series do you recommend?

The Name of the Wind – Patrick Rothfuss. Beautifully written.
The Lies of Locke Lamora – Scott Lynch. Just brilliant.
The Troy Trilogy – David Gemmell. The man at his very best and written just before he died (indeed, the third book was co-written by his amazing wife, Stella after his death).
Germinal – Emile Zola. It is an utterly gripping, terribly depressing and achingly brilliant novel about the effects of a strike on a poverty-stricken mining community in northern France under the second empire. Right, not SF&F but there is more to life and this book, written in 1885, is extraordinary.

12. What do we have to do to have cameos in your next book where we die violent deaths?

You want that? You got it. All you have to do is furnish me with your ideal fantasy versions of your names in the style of those already in The Raven and I’ll do the rest. That’s you, the Elitist crew, not the earth’s population in general.

13. Again, James, thanks for taking the time to chat with us. As always, it has been a pleasure. Any last words for the readers?


Yes I have. In one way only, I want to be like JK Rowling and find it easier to create a list of those who haven’t read my books rather than the lengthier one of those who have. So go and buy my books and then make all your friends do likewise (and their friends and so on and so forth). Much appreciated.

Seriously though, this genre is full of richness and talent and variety and extraordinary people. Never walk away and, if you can, get one more person to read your favorite genre title. This is surely the true path to global enlightenment.

Thanks for inviting me in. No need to get up, I’ll close the door on the way out.


R.A. Salvatore Interview...The Sequel!

You know you love a good sequel! As Emeril would say, "BAM!!!" (Yeah, we went there...)

Hopefully you all remember last year when R.A. Salvatore dropped by Elitist Book Reviews on his blog tour for THE GHOST KING. Bob is just one of those guys who is a pleasure to interview, and that really came through during that interview. If you didn't read it then, check it our HERE.

Well, Bob is back, and he is as awesome as ever. You see, Bob just gets us, and he gets our blog. So when we were approached to host Bob Salvatore to promote his latest novel, GAUNTLGRYM, you know were jumped at the chance.

'Cause Bob is easily becoming one of our favorite people.

***The Interview***

Elitist Book Reviews: Well, Bob, back for more punishment we see. It’s been nearly a year since we last chatted. How has the last year treated you?


R.A Salvatore: Punishment? Well, you guys do fancy yourselves elitist, don't you? Won't work, sorry... I know you're just sniveling fanboys in the end. Just kidding... please, put down that pen! No, don't write that review... ahhhhhh!

Seriously, the last year has been an amazing one for me. I became a grandfather in March and I love it even more than I thought I would (and that was a high bar)! I've been busy, as always, but since I finished up my Saga of the First King series with TOR Books (The Bear came out in August), I've cut down to one book a year. We'll see how long that will last, but I have to tell you, having a couple of months to just sit back and enjoy my grandson and my family without a deadline hanging over my head is pretty wonderful.

Things have moved along splendidly with 38 Studios. I can't wait for "Reckoning" to come out next fall, as I think we're knocking this RPG out of the park. It really is beautiful to behold. And Copernicus (still using a code name for our MMO game) is going in marvelous directions; the team at 38 and Big Huge Games (BHG) stuns me every day. So all is well.

Still playing softball, still working out, and spent most of the summer floating in a pool. It's easy to complain, but no one listens or cares, so why bother?

EBR: With Gauntlgrym, you are treading into one of our favorite areas of the Forgotten Realms: Neverwinter. Was it just right place, right time, or had the idea for Drizzt heading to Neverwinter been brewing for quite a while?

Bob: I'll be perfectly honest here: I know what stories I want to tell. I knew where the road was heading for the remaining Companions of the Hall and knew the thematic beats I had to hit to bring these characters forward. The surroundings, the dressing on the story cake, are far more malleable to me. Wizards of the Coast asked me if I could set the book in the region of Neverwinter and could I do certain things to help them and Cryptic with the changes they needed for the upcoming Neverwinter for PC. Well, I've been near to Neverwinter since the beginning of the Drizzt tales, traveling to Luskan and the Crags (which I actually named), and riding the road to Waterdeep. I was passing right by Neverwinter before the city was developed for the computer game. And honestly, I intended to journey to that region, though not specifically Neverwtinter itself, in this book before Wizards even approached me with the idea.

So I agreed; my favorite part of working in a shared world are those times when I get to play off the work of other creative people. Isn't that the whole point of the place, after all? I went to a summit last summer out in Seattle with the folks from Wizards and Cryptic, and we hammered out the general things Cryptic wanted me to accomplish regarding the city and the region. Many people around the table had bits and pieces of little side streets I could explore. Most fun of all was when Rich Baker and I got into a one-upmanship game. I have a curious relationship with Rich. We don't really know each other all that well, but something pretty amazing happens when we're sitting at a table: we just play off each other like a shortstop and second baseman who have been on the same team for a decade. It's very cool and very inspiring.

So basically, at that summit, I had to digest the things they wanted me to accomplish physically with the area and see if I could create details within the framework of my story that would get us to that point. That process continues as I go through the series. Still being perfectly honest, it was a blast. I felt like there was a life to this book, a freshness to it, as if I was exploring the world beside my old friends. Which is exactly the point of the dramatic changes in the Realms, and exactly where I knew I had to place Drizzt.

EBR: How does the destruction of Neverwinter by the Spellplague affect Drizzt in this new series, and do you as a writer look forward to these types of big, landscape-changing events?

Bob: Why, whoever told you that the Spellplague destroyed Neverwinter? Oh come on, I can come up with something more explosive than that! I finally get to trash a section of the Realms (sorry Ed [Greenwood]!) and I wasn't going to let that happen without putting my touch on it. Come to think of it, I took care of Luskan, too, a couple of books ago. I sense a trend here...

Generally speaking, I don't look forward to these big landscape-changing events in a shared world, because the nature of the place puts too many limitations on what I can do versus what I want to do. I went through this from the other side of the coin during The War of the Spider Queen series, where I had to put the brakes on the level of destruction and carnage in Menzoberranzan, because I, after all, am likely to be the guy who will go back to the place in future works and I didn't want to set a book amidst smoldering ruins.

In this instance, though, I didn't really mind it. The big events for the book physically aren't the big events for the book emotionally. That's not a subtle distinction. The physical landscape, the city of Neverwinter, are more affected by the big events than are my characters and ultimately, this book, like all of the others, is about the personal journey of those characters. I realized early on that I could accomplish what Wizards of the Coast and Cryptic needed from me, not only without detracting from the story I wanted to tell, but through actually tying together the big events here with things I had written about previously. Surprisingly, the earlier tales dove-tailed beautifully with the events of Gauntlgrym, and so tied the journeys of Drizzt even more tightly than I had anticipated.

EBR: You’ve been killing off characters lately. Personally, we love it because it lends more danger to the situations you put your characters in. Has there been any thought to the possibility of Drizzt meeting his end?

Bob: Glad you love it, because for me, it hurts like hell. That aside, death is a necessary element of an action/adventure series that has gone on for 22 years, I suppose.

Any thought of killing Drizzt? Only for the last 22 years. Seriously, there was a time in the mid-90s when I came to actually resent the Dark Elf. I'm not kidding. Drizzt was my blessing and my curse, I thought. My blessing because what writer wouldn't want a breakout hero and a breakout series? And my curse because the popularity of the Legend of Drizzt overshadowed all of the other work I was doing, including some work which I thought very important (to me, at least). When people ask me my favorite book, I tell them Mortalis, the 4th book of my DemonWars series, and I mean it. I don't think I've ever written anything better than that, and doubt I ever will, and yet, more than half the people who know of my work, know only of my Dark Elf work.

So for a while, I admit it, I came to resent Drizzt. I wasn't working for TSR (the previous publisher of the Drizzt books, before Wizards of the Coast bought them) at that time, however, and fortunately so, I guess! I did have this story of Drizzt tripping on a root and falling in a hole and dying of exposure.

You know, just because.

That's all long past, however, and I no longer view Drizzt as a blessing and a curse. Rather, I've come to realize that my work, particularly my Drizzt work, is a shadow of my own personal journey. Through this character and his friends, I've been given the opportunity to not only share my point of view, my fears and my hopes, with others, but to explore those things within myself. I can relate to Carl Sagan when he wrote Cosmos and called it his "spiritual journey." As that was his -- searching for the universal truths of the universe -- so this is mine, searching for that which is in my heart and soul.

And now you come along and ask me if I'm going to kill the bloke!

To that, I can only answer, "I don't know!"

EBR: Where do you go from here, Bob? Any surprises in store for your readers?

Bob: Of course. Surprises for the reader, and for me, or I'll stop writing these books. I've always maintained that I'd write Drizzt books as long as people want to read them and they're fun for me. The way I know it's fun for me is when I'm surprised. I don't write like many other writers I know. I have an outline, sure (that's part of getting the advance checks, after all), but once I get going, I might as well not have one. I write the same way other people read. I don't know what's coming on the next page, so I have to get to it. That's always been the joy of writing for me.

I always find it interesting when some reader proclaims that he knew I was going to kill Character X several books ago. Interesting and amusing, because I assure you that I had no idea such a thing was going to happen. Perhaps I'm tipping off the readers as I'm tipping off myself, subconsciously, as I write the stories.

Or maybe people just want others to think they're really smart.

So yes, to answer your question directly, there are certainly surprises to come. And changes, so many changes, in the life of Drizzt Do'Urden. I wouldn't have it any other way.

EBR: Again, Bob, thank you for stopping by our blog. What do you say we make this an annual deal? Before you go, any parting words for our legions of faithful readers?

Bob: Seems to be morphing into an annual deal, doesn't it? And that's great with me. I love your site and the way you guys treat books: with a sharp eye, a dose of honesty, but always with respect for the effort.

To the readers, I can only say, please don't stop reading. And I don't even mean my works, necessarily. We've lost 3,000 bookstores over the last few years and the industry is in a state of flux. These are scary times, but also promising ones, with the new technologies coming on line -- and by that, I mean not only the e-books and the greater ease in producing audio books, but the technologies that allow for smaller inventories and just-in-time printing and shipping, and even self-publishing. When you see a book you love, don't be quiet about it, please! And I mean that doubly for beginning or lesser-known authors. I've watched publishers brought to tears over their inability to break out wonderful new authors in this difficult corporate framework, and far too many important voices are being silenced because of sales numbers.

So keep reading and keep championing those authors who have brought you joy, or entertainment, or enlightenment. The only person who really matters in the production of a book is the reader, after all.

**************

What can we say, Bob Salvatore is one of the classiest guys in the business. Period.

Below are the links to the prior stops on Bob's blog tour, as well as links to the next stops. We suggest you show these other bloggers some love by visiting them and clicking all over their sites. Being a blogger takes more work than you think...

1 - http://thetome.podbean.com/
2 - http://lordsoftyr.com/
3 - http://www.dungeoncrawlersradio.com/
4 - http://www.flamesrising.com/gauntlgrym-interview-salvatore/
5 - http://agentlethal.com/talking-with-ra-salvatore-about-gauntlgrym
6 - Uhh, you're already here...you know, Elitist Book Reviews...
7 - http://suvudu.com/

**************

Lastly, go take a peek at the online scavenger hunt that is going on. You have a chance to win all sorts of prizes; from a signed copy of GAUNTLGRYM and a D&D Starter Set, to stuff even MORE full of win. Go to our other post to check it out:

http://elitistbookreviews.blogspot.com/2010/10/online-scavenger-hunt.html


Interview with Larry Correia

We've had the privilege of chatting with Larry Correia a number of times. As an author, he is fantastic. As a person, he is even more awesome...and we promise that Larry doesn't have any heavy weaponry pointed at us as we type this introduction. So, kick back and enjoy the interview.

Elitist Book Reviews: Larry, welcome to Elitist Book Reviews. Tradition here at EBR states that you have to introduce yourself to the readers by explaining why you and your novels are awesome. And don’t start with that “I’m not the guy to do that,” because we know you.


Larry Correia: Well, I’m a novelist with Baen Books. I’m currently writing the third book in the Monster Hunter series, have a new series called The Grimnoir Chronicles beginning in 2011, and I’m collaborating with John Ringo on a new sci-fi series. Before that I’ve been a military contractor, machinegun dealer, firearms instructor, and an accountant. Which I suppose is a really strange combo.

Why am I awesome? Because EBR said so. And everyone knows that they are never wrong.

EBR: Who do YOU think your novels appeal to (besides Elitists like ourselves with impeccable taste)?


LC: People who like big, explodey, fun without having their intelligence insulted.

My first novel, Monster Hunter International, was specifically written for anyone that had ever watched a horror movie, and found themselves wondering why the protagonist didn’t just get a gun and shoot the monster. It kind of just evolved from there.

You’ll hear a lot of writers give the advice to write what you’d like to read, and I enjoy fast, fun, action-adventure, but not dumb action. Action-filled books can still have great characters. Even though I write fantasy and sci-fi, I try to keep my tactical/technical aspects as accurate as possible. The best kind of compliment I have received is when somebody in Iraq sends me an e-mail saying that if monsters we’re real, that’s exactly how they would take care of business.

EBR: Alright, it seems like everyone always asks what it is like to get that first novel published. That’s neat and all, but what we want to know is what it is like to write that second novel on your contract—for you, MONSTER HUNTER VENDETTA. Was it easier/harder? Were you worried about the expectations riding on the sequel?

LC: Both. It was harder in some ways and easier in others. The easy part was that I’ve gotten better with each book that I’ve written, so I think MHV was a little tighter and smoother that its predecessor. It is really just practice and experience. I’ve got 5 novels done now, and I’ve learned something new from each one.

The hard part was living up to expectations. MHI was a huge hit. Four printings in its first year, bestseller lists, great reviews, etc., so I really wanted MHV to be just as good or better that its predecessor. So far though, so good. The early e-book of MHV released a few months ago, and the reviews have been extremely positive. (plus EBR liked it, so the matter is settled).

Another hard thing about a sequel is that nerve-wracking part where you have to decide how much recap to squeeze in so people who read out of order aren’t completely lost but your existing fans aren’t bored. Nobody wants to read a few pages of “in our last exciting episode—“ so I had the main character give a brief recap of how he ended up where he is while being interrogated in a Mexican prison. I do believe that worked out pretty darn well.

EBR: What’s the hardest thing for you during the whole “writing experience”?

LC: Butt in seat. Hands on keyboard. I’m easily distracted.

I love to write. I’d do it for fun anyway, (though it is really awesome to get paid for it!) but it takes an effort to stay focused and to put in the consistent hours necessary to produce. Some nights you just want to be lazy and play Call of Duty, but you need to set a schedule and you need to keep writing. Writing is a job. Luckily, I’m a workaholic, which means I feel guilty if I’m not taking on a stupid number of projects, so that helps.

EBR: So far we have two Monster Hunter novels. We know you have a prequel in the works, but where else do you see yourself taking this franchise?

LC: The next book is Monster Hunter Alpha. It is about MHI’s head honcho, Earl Harbinger. Fans love Earl. No spoilers, but Earl is one hardcore dude. MHA isn’t really a prequel, though it does have a lot of background info about Earl and the experiences that made him the man he is. It is the first MH novel written in the 3rd person, and it jumps around to some other characters that will become important in the MH universe.

After that is Monster Hunter Legion. It gets back to the main story-line and PoV character, Owen Pitt. Then is another standalone called Monster Hunter Nemesis, about everyone’s favorite fed, Agent Franks. Officer Friendly, he is not. The fun part of the MH universe is that there is so much story potential. There is a big overall arc involving Owen, but in the meantime I’ve got a bunch of MH stories I want to tell.

EBR: What many of our readers don’t know is that Monster Hunter isn’t your only franchise. Give our readers the HARD MAGIC pitch.

LC: The Grimnoir Chronicles is an alternative-history/epic-fantasy/pulp-noir/adventure. That’s a lot of genres, but TGC turned out great. It takes place in a time-line that diverged from ours when magical abilities began to randomly appear in the 1850s. Nobody knows where this power came from or how it works, but it only seems to bond with a small portion of the population.

HARD MAGIC is the first book set in the TGC universe. It takes place in 1932, during the end of prohibition and the early part of the Great Depression. A secret society of magic users, led by Blackjack Pershing, is trying to keep a Tesla designed super-weapon from falling into the hands of Imperial Japan.

EBR: We’ve read HARD MAGIC. It’s freaking awesome. But if you start doing all sorts of cross-overs between your franchises, we will send all manner of zombies and assassins after you. Please, calm our fears here.

LC: No crossover. There are monsters in TGC, but there are only a couple of variations resulting from certain specific types of magic. I tried to keep a very ‘30s pulp vibe to the creatures and to the technology. I’ll admit, I was a little nervous showing the rough draft of Hard Magic to you guys, because you are tough but fair. I’m really glad you liked it.

Basically, TGC originated because I wanted to write an epic fantasy, but I didn’t want to put it into a normal, been done before, kind of setting. So I made a list of the things that are the usual staples of epic fantasy, complicated world building, lots of characters, big storyline, magic system with rules, etc. So I took this epic fantasy story, and I stuck it into what I thought was one of the most interesting periods in history, i.e. when men wore hats. I’m also a history geek and research nut, so this gave me an excuse to read lots of history books, and then I populated it with all of the retro-cool things I thought would be fun to write about.

Hard Magic is the only book I’m aware of that features a teleporting magic ninja fight on top of a flaming pirate dirigible, played straight, and it works. Being honest, it is the best thing I’ve ever written.

EBR: We totally need John Ringo/Larry Correia collaboration details. This is a pretty big deal, so tell us what you can.

LC: I met John Ringo at LibertyCon. He’s a really great guy, and one of the top writers in science-fiction. We hit it off, and he asked me to collaborate on a new series with him. Of course, I said yes, because this is The John Ringo we’re talking about here. We are still in the early stages, but it is a new setting/idea that John has come up with. It is definitely space-opera. I love space-opera, and this is my first opportunity to write something in that genre.

EBR: What’s it like collaborating on an idea? How do you make the ideas mesh? Also, just cause we are curious, when should we expect you to collaborate with us (surely that is on your checklist of “Goals Towards Global Domination”)?

LC: If I was to collaborate with you guys... Well, I don't know if the world could withstand something like that. We might have a liability issue from the books spontaneously combusting on bookstore shelves because of the sheer power of awesome.

There’s different ways to collaborate. The standard Baen junior/senior writer method is that the senior writer does the majority of the world building and provides a really detailed outline to the junior writer. (that would definitely be me). Then we go back and forth to hammer things out. The junior writer does the first draft and the senior edits it, back and forth until you’re done.

This will actually be my second collaboration. I’ve written a thriller called Dead Six with another author named Mike Kupari. We just finished that recently and are in the process of selling it now. That collaboration was a little different, since both writers had one first person PoV character, and the story switched back and forth between us, alternating scenes, so there are two totally different voices. It is a kick-butt thriller.

EBR: Let’s say you are at the bookstore, browsing for the latest novel that the awesome reviewers at EBR are raving about (besides your own). Another book browser passes by your hulking mass (most likely wondering—correctly—if you are going to pull a pistol on him), and asks timidly what book you recommend. You can’t recommend your own, because obviously the store has sold through your entire stock. You can only recommend one novel. What is it going to be?

LC: Oooohh… Hard one. I don’t know if I could narrow it down that much. I don’t really have a single favorite book. There’s just too many good ones to choose from. I know which work of fiction I’ve reread more than any other, though, so I’d have to cheat and pick two books (since they really should be read together) and say HYPERION and FALL OF HYPERION by Dan Simmons.

EBR: Usually we ask what we have to do to have cameos in people’s novels. But, well, you already promised us this. Hmm. Uh, what do we have to do to get recurring roles? Yeah, that will do.

LC: I was going to redshirt you guys in MHA, but I’m doing a charity thing for the Misha Hintze kidney transplant fund, where I auctioned off redshirts. We called it: Give the gift of kidneys so Larry Correia can murder you for charity. We actually raised a nice little chunk of money, so now many of my readers can be devoured by werewolves, so it is fun for the whole family. But now all the characters in the book have been named for charity, so I’m going to squeeze you guys into the next one. You’ll have to decide if you want your alter egos to exist in the modern day, in the ‘30s, or in the future.

EBR: Alrighty, Larry. We are thrilled that you took time to answer our completely random and self-serving questions. Anything you want to say to our readers before you shoot them—err, have to go?

LC: I’ve got an absurd number of sample chapters for all my books and other fiction posted for free over on my blog, http://larrycorreia.wordpress.com/ Just click on the Sample Chapters & Short Stories tab.


Interview with Ed Greenwood

Really, if you don't know who Ed Greenwood is, you've been living under a rock somewhere. In the Antarctic. Now you may or may not read his books. You may or may not like what you have read. It doesn't matter in the end. Ed, as it turns out, is one of the nicest people we have ever interviewed. He is also one of the most honest about his own work. Check out the following interview with him and we triple-dog-dare you not to be impressed with this guy. Also check out the text after the interview to find out how to win a SIGNED copy of Ed's new book ELMINSTER MUST DIE

***The Interview With Ed Greenwood***


Whenever we have the chance to interview authors, the first thing we like to do is give them a chance to brag little (or a lot). Ed, we want you to leave humility at the door, and tell us and our readers why they should be reading your works. What makes you awesome?

Hmm. I’m more humble than braggy by nature, so I’m not going to be very good at this, but here goes...

I’ve written (and published) more than 130 books, so I’m either doing something right or fooling a lot of editors. I’ve won awards and had bestsellers. I’ve designed probably THE most detailed fantasy world-setting ever (yes, bigger and deeper than Middle-Earth) and detailed a lot of it, working for forty-some years on it thus far. I love characters and my tales focus on them, witty dialogue and all. I enjoy writing scenes of defying evil or misplaced authority, and LIVE to describe wild spell battles.

Most importantly, I LOVE writing fantasy, sf, and pulp adventure, and I think it shows in the writing. Why read something that the writer hasn’t had lots of fun creating for you?

You've written 30+ novels, campaign settings, articles...how do you keep it all fresh?

It’s that spirit of fun. I approach everything as a challenge: I have this much time to get from Here to There, or to create This effect; what’s the most fun way to do it? Or, how can I do it involving this character and a mad thinking castle and a drunken dragon, or making sure the fat guy slips on the banana peel in a way that surprises the reader? Right, here we go, and wheeee!

THAT’S how I keep it all fresh. If I’m collaborating with someone, I want to do it differently than any other collaboration I’ve done. If I’m using a place or characters I’ve used before, what can I do with them that’s new, or at least different? And so on. I’m going to die someday, and I’ve got SO many tales still to tell! So let’s get this show back on the road!

With your latest Elminster novel, ELMINSTER MUST DIE, you've returned to one of the most iconic characters in the Forgotten Realms. Give our readers a brief blurb of this latest offering, and if you will, is there anything different you do when writing in a shared/established Wizards of the Coast setting as compared to something outside the Forgotten Realms?

The Spellplague has come to the Realms, and almost a century has passed. Elminster, Storm, and The Simbul have all lost their goddess, their status as Chosen, and something else: Elminster – his eagerness, vitality, a lot of his magic, and his hold on his sanity; Storm – almost all of her magic; and The Simbul – ALL her sanity. El still loves The Simbul deeply, and is trying to make and keep her sane by feeding her magic, which he’s stealing wherever he can. Notably in Cormyr, where his thefts have made the War Wizards fed up with him and determined to destroy him. Weak and desperate, hoping to find someone else to take over his cause of “saving the Realms” by spreading use of magic to everyone, high and low, so no one can survive as a tyrant by using magic on others or by brute force of arms if no one has magic, he doesn’t even notice that old, old foes are hunting for him, intending to take revenge by killing him at last...

Now that’s the chords-of-doom setup, but the story also has a young and flippant noble, lots of other and more dastardly nobles, deadly slayers, a nearly nude “mask dancer,” an angry ghost, and some infamous thieves. Oh, and one very rude fat old man.

When writing in the shared world setting of the Realms, I’m always mindful of “not breaking the toys,” which means not killing or altering characters other writers and designers might use, and not narrowing down gaming or writing possibilities by making too many definite, clear statements and eliminating people, places, and things.

When I’m writing in my other settings, such as Falconfar, Castlemourn, Niflheim, or others, I don’t have to hold back. I can make big changes during a story, and kill and blast to my heart’s content. Yet at the same time, I have to do more explaining. Unlike the established, very detailed Realms, I can’t rely on readers knowing anything from previous books. The entire impact and coherence of scenes depends directly on my setting it all up for the reader, right then and there within the same story.

We hear from our readers, and have noticed ourselves, that your characters often seem so tough, and nearly invulnerable at times. Why do you think there is this perception, and how have you learned to balance this in terms of creating situations where your characters actually seem in danger?

Shining invulnerability, or an established perception of it, is a big problem when writing about iconic characters. If the reader thinks Elminster (or any other character in a story) is never going to be in real danger, it robs the tale of a lot of excitement.

The only exception to this is when I’m writing pratfall scenes, where the attraction is to see what sort of mess the character (such as, say, Mirt the Moneylender) gets himself into THIS time.

Much of my Realms fiction (which is work-for-hire, so I’m agreeing with editors and designers about what stories to tell, not riding off freely to write whatever comes into my head about new and uncharted territory) has dealt with powerful wizards, rulers, and other “fixture” characters, people who have a lot of power and throw it around, so they can seem very powerful.

Yet if you read The Temptation of Elminster or Elminster in Hell or this latest book, Elminster Must Die, Elminster makes a lot of mistakes and some very bad things happen to him; he goes through agony, he doesn’t always emerge victorious, and often pretty much accomplishes only one thing: he survives, and outlasts some of his foes.

In Death of the Dragon, Troy Denning and I killed off a very popular character (King Azoun) that most Realms fans never expected us to touch, and were quite surprised when we didn’t just resurrect him at the end of the book or in an immediate sequel. And the body count of lesser characters in my books is immense (to the point that editors often tell me to tone down the killings), so my characters are nowhere near invulnerable.

For those wondering what will happen to Elminster in Elminster Must Die, let me say this: the title is NOT false advertising.

One of the reasons Elminster may SEEM invulnerable is that he often acts as if he is, bluffing his way through a situation with drawling arrogance when he’s really “flying by the seat of his breeches,” like the old Saint character of all those mystery/thriller tales.

I work against the perception of invulnerability by bringing the reader close in to the action, so they can see just how dangerous situations are, and how the characters handle peril and pressure. WHY they do what they do.

Heroes and villains, however flawed, are inherently more interesting than terse, expressionless spear-carriers, of course, so there’s a fair bit of emoting and running around and saving the world. It’s more fun when the stakes are high.

Fans of your work have been following it for decades now, and have become pretty dedicated. How much attention do you pay to their feedback, and do you ever sneak in any "fan service" into your works?

When I started writing about the Realms, back in 1966 (yes, well before there were any fantasy roleplaying games), I was writing just for myself, and my big drive was to explore this place, peek around every corner to see what was there, and describe describe describe in a mad rush to see it all. When D&D® came along, it was a new “language” to describe the Realms in, and I adopted it, writing many Realms articles for THE DRAGON, as the magazine was known back then, starting in issue 30, but my drive was still to detail and explore it all and share it with the rapidly increasing ranks of fans.

The editors and designers at TSR (Jeff Grubb, first and foremost) were my first “tell me more about this” and “explain that” feedback, and then the fan feedback started. Which I’ve paid close attention to, ever since. Not to steer WHAT I put into the world, because I was still busily getting down into print what I’d already imagined, but to steer HOW I described it, and what I explained more of. So I don’t “take ideas from fans” and put them into the Realms, but I pay close attention to what they want more of, what they didn’t like or didn’t “work” for them (fans of course often have very different likes and dislikes from each other), and what seems to be misunderstood or complained about most often. Yes, I sneak fan service or “Easter Eggs” into my Realms writings, and always have, but I’m not going to give any examples. The fun lies in spotting them, or being the people they are aimed at and having that warm private smile or explosion of laughter or moment of tears, when they find those little touches.


Thank you for taking the time to drop by, Ed. Any parting words for the fans and readers?


My pleasure. I always love talking about the Realms. I’d like to tell the fans: the Realms is very much alive, and there are still LOTS of Realms stories to tell! I’d like to tell my readers: with every Realms book I write, I think I get a little better, and Elminster Must Die is probably my best book yet. Well, except for its sequel...

You don’t have to love Elminster to have lots of fun with this book. Heck, you don’t even need to know much about the Realms, because the “timejump” starts the story off afresh. Yet if you’ve loved the Realms for years, the post-Spellplague world, at least where Elminster is, in and around Cormyr, isn’t all that different. Same suavely annoying nobles, same even more annoying War Wizards, same whiff of treason around the Court...

Heh. Let the adventure begin!

****

What did we say? Ed is a complete class act. We are so thrilled that he took the time to answer our questions so completely.

We are just the first stop on his blog tour. The next leg of it picks up next Monday. Go run buy the following blogs to see what else Ed has to say!

Monday, August 9th - Sci-Fi Fan Letter

Tuesday, August 10th - Flames Rising

Wednesday, August 11th - Suvudu

Parting Note: We have five (5) SIGNED COPIES of ELMINSTER MUST DIE to give away to US and Canadian residents (sorry everyone else! We still love you!). You want a copy? Well, you know how it works for these things. Either post a comment/question below, or send us an email telling us your best Ed Greenwood story or asking an awesome question.

Also, WotC is running a contest:
Should Elminster really die? Should he live? Tweet your case (in 140 characters or less) for a chance to win a trip for two to Gen Con Indy 2011. Complete the official entry form first, then include @WotC_Novels and #elminster in your tweet. The judges will review all eligible entries and will select one grand-prize winner based on originality/creativity (50%) and sense of humor (50%). Entry form, complete details, and official rules at: www.wizards.com/dnd/promotions.aspx


Dante's Journey

Because we are the benevolent Book Gods that you have to know, love, and worship, we have a treat for you today. A review AND an interview. Without further ado, we present JC Marino, author of Dante's Journey.



Welcome to EBR John, thanks for doing the interview. We like to start things off here by giving authors a chance, to in their own words, tell the world how elite they are. After all, to be a guest here at Elitist Book Reviews you must be. So lets have it.

I used to work at Digital Equipment (affectionately called DEC, for those of you who remember). The mentality there was to never toot your own horn, but to let the product do the talking for you.

Ahhhhh… sweet memories.

If I WERE to toot my own horn, not that I would… I would say that I’ve lived a lot of life and have done many things out of my comfort zone.

I’m like Frank Sinatra. I’ve been a puppet, a pauper, a pirate, a poet, a pawn and a king. I’ve also been a Soldier, a Security Specialist, an AI Knowledge Engineer, a 3D Animator, an Information Security Engineer, an eDiscovery Engineer, and now a Novelist.

How about a little bit about yourself and your background?

Well, I was raised in a typical Boston, Italian-American Catholic family through the sixties and seventies. Typical in some ways… not so typical in others.

We were sort of like the Sopranos… you never really knew where you stood in the family dynamic.

I joined the Air Force as soon as I was of age, dropped out of school, and left.

Fast forward six months… I’m walking around an F-111 in Mt Home AFB, Idaho at 2:00 AM, and realizing what I now have to do… GO BACK TO SCHOOL.

From that point on, I went to school to learn what ever I could.

I eventually left the service, became a Software Engineer specializing in Artificial Intelligence, got a job with DEC, and moved to LA.

In LA, I learned something from an admin person I met at work. Everywhere else in the country, an admin person who wants to write is an admin person who wants to write. In LA, he’s a writer who’s temporarily working as an admin person.

In Hollywood, you’re not defined by what you do for work; you’re defined by your dreams.

This admin person got me hooked on to continuing my education, but not in software engineering… rather in where my dreams were: writing.

So I continued my education at UCLA in creative writing and story-telling.

That’s why, today, I’m NOT an out-of-work AI Software Engineer… I’m a NOVELIST.


Would you tell us the story of your road to publication? What was a particularly challenging moment in getting your book published?

This is as long a road as the DNA strand of a Jurassic Park dinosaur. I’ll try and keep it at the Reader’s Digest level.

I started out in screenwriting. After years of getting my work optioned, working for producer wanna-bees for years for free, I decided to switch to novels.

I discovered one thing from Hollywood (and those wanna-bees)… if you want to get anyone interested in your work, you’re going to have to let them know that you’re bound and determined to do it with or without them.

So, after several bouts with the huge publishers, I looked into the smaller independent ones.

I read a lot about them (thank God for Google).

I made a list of the top five I was interested in, and sent them a questionnaire. The ones with the answers that showed a good fit for what I was looking for, I called.

I got it down to one (Star Publish) and thus, started the publishing side of the fence… then came editing… cover art… etc.

Each one of those steps is a story in and of itself, but like I said… the Reader’s Digest version.


Did you struggle with retaining your own artistic integrity balanced with remaining true to the original subject matter? What were some of the ways you accomplished this?

If you asked me this in my days as a screenwriter… the answer would be YES.

A producer (or director or agent or manager or…) would actually say how much they loved my screenplay and how they were going to make the deal of the century with it. BUT, this is how WE are going to have to change it.

I always remember the Skipper on Gilligan’s Island when I hear how “we” have to do something. “Wow… you certainly went from WE to ME in a hurry.”

Of course, I did all the work (sometimes over years)… made the changes that I told them wouldn’t work. Then got blamed when what I said wouldn’t work didn’t.

But, as for the experience with Dante’s Journey, and my novel writing experience with Star Publish, there was no such struggle.

The thing about Star is that most of the people in it are also writers. They bend over backwards to keep the voice of the writer alive and well.

With the smaller independent publishers, there are advantages and disadvantages. One of the big advantages is that the writer gets the last word on where the story goes.

What about Dante's Inferno inspired you to write Dante's Journey?

I was born and raised Catholic, as well as going to Catholic school (for eight years). I can’t say this for the whole Catholic faith, but a lot of the teachings in the school I attended was about sin and the wrath of God.

When I joined the military, I was really out of my element.

I got to know a lot of different kinds of people and realized that the Italian Catholic Bostonian view of the world was just a small part of the whole.

I eventually got a major thirst for other religions and faith. One night, on armory duty, all alone, I read a book called The Worm that Never Dies. It was about Hell and scared the HELL out of me.

It eventually led me to reading more and more about faith, Hell, and sin.

I found Dante’s Inferno and, though I don’t believe Hell is physically like that, I do understand the symbolism. I was fascinated with the text and story.

The whole nature of sin thing got to me. What is “sin” anyway? I remember an old Outer Limits episode where an alien void of emotion asked a human being to explain “love” to him.

How do you do that?

Sin isn’t defined by action alone. It can’t be. For everyone that kills for money, there’s someone else who kills to save a child.

Anyway, Dante’s Inferno always stayed with me, so when I moved to LA, I started writing the screenplay version. It was originally written for Bruce Willis and had a very “Die Hard” feel to it.

But the characters evolved and the feel eventually changed to what you see now.

What were some of the challenges you faced in creating the characters Dante encounters during his Journey?

As I said above, the original idea behind the story was more for a Bruce Willis “Die Hard” type.

At that time, all the characters were made up and based on your typical archetypes.

I can’t say exactly when it happened, but I eventually thought to make the name of the main character a variation of Dante Alighieri… thus his name ended up as Joe Dante.

That’s about when I had the revelation to give most of the character names some variation as the character names in the original work.

Then, I thought, why not actually base the characters themselves on the characters on the original.

So… Dante Alighieri is Joe Dante, Boston PD; Hector (the reluctant warrior from the Trojan War) is a Hippie draft dodger with the heart of a fighter; Beatrice (the original Dante’s true love) is Joe’s wife; Filippo Argenti (Dante Alighieri’s mortal enemy) is Argenti the drug dealer who had Joe’s family killed; Socrates is, well… Socrates. But you get the idea.

Then I went back to storytelling 101… conflict conflict conflict…

So, the dynamic relationships and motivations became more mysterious and conflicted.

In the original, Virgil was Dante’s tour guide because Dante loved and respected Virgil’s work in life (Virgil was a poet).

But in Dante’s Journey, Joe and Virgil don’t even like each other at first. They’re forced to work together. Joe wants to find “justice” for his family’s murder. And Virgil needs to get Joe out of Hell for mysterious reasons… or does he?

What past experiences in your life helped shaped Dante's Journey?

Eight years of Catholic school.

The funny thing is… when you know something and have known it for most of your life, with no thought of even keeping it a secret, you automatically think everyone knows it to.

So many people know so many things without realizing other people don’t.

Someone who grew up around horses on a ranch, for example, when first going to the city and talking to a stranger would probably assume they also know about riding horses.

But to someone like me… a city kid… my only exposure to horses is something to bet on to win, place or show.

There were so many parts of my life that I just took for granted and thought nothing of it. The way Joe grew up was similar to me, so it was fairly easy to write for that character.

Growing up Italian Catholic… doing my time in the military… the conflicted feelings you have with family… etc.


What can you tell us about your future projects? What is coming down the pipeline and when?



Ahhhh… for that, you can go to my website at www.jcmarino.com.

I saw a movie a while back, titled “Memento”. To me, movies like this are what story-telling is all about.

It gets the audience involved by telling the story backwards, showing them what it’s like to have short term memory loss.

I was inspired to write a story about a rare medical condition and tell it through the eyes of the protagonist. My next novel, “Everything but the Face” is about a gallery owner who’s attacked and left with a rare condition called Prosopagnosia, or face-blindness.

To her, everyone has the same horrific empty, expressionless face. In other words, everyone looks the same.

She has to solve the murder of her boyfriend, stay one step ahead of the killer, keep her paranoia of the suspicious police at bay, and confront her inner demons.

As “Dante’s Journey”, the story is told in the first person (through the eyes of the protagonist). It was necessary in order to get the reader to feel what it’s like to have this disorienting condition.

Who is she talking to in any given chapter? We don’t know. We only know who they say they are. So, who can a woman with trust-issues trust when everyone looks exactly the same?


What do we have to do to get cameos in one of your future books?

It depends… do you want to be the good guy, bad guy, mentor guy or victim?

(Steve likes to be the victim, Nick likes to be the bad guy. Just like in real life)

Is there anything you would like to add or say to our readers?

I think anyone who read/liked the original Dante’s Inferno would love Dante’s Journey. It will be fun for them to see the updated characters.

And those who haven’t read it, but are interested in religion (the concept of Hell… the nature of sin… etc) and/or fantasy will also enjoy it.

It’s sort of like how Smallville is to Superboy. It’s great to see the updated characters and how they’re different from the original, but it’s also entertaining if you’d never heard of Superboy before Smallville.

The novel is written in layers and Hell is separated by levels.

Similarly, different types of people will enjoy the novel for different reasons.

I think it’s a very unique book as it doesn’t rely on swords, sorcery or magic, but rather the human condition within the extraordinary situation of one man finding himself in Hell.

I think the reader will see certain aspects of him/her-self in Joe (or even some of the other characters) and question their own place in the world, as well as their possible place in this particular afterlife.

I want the reader to look at the inferno and say “Heck, I could end up in THAT ring.”

Plus, it’s a fun book. It’s light enough to keep the reader smiling, yet heavy enough to keep them thinking, guessing, and even philosophizing.

Thanks again for coming John. It's been a pleasure. We will see you next time around for EVERYTHING BUT THE FACE.


When we first got an email from JC Marino about possibly reviewing his novel, despite agreeing quickly, we were a bit nervous about it. Usually authors that have need of contacting reviewers themselves, and not through a publicist...well let's just say there is a reason they don't have a publicist. So when we opened of the package, and saw the goodness of the production quality of Dante's Journey we already knew we had been mistaken and had no reason to not be super excited about it. We had a complete blast reading Dante's Journey.

What's even better, is we had a complete blast talking about it after we had both finished it. No, it wasn't a bunch of discussions on the NEUROPATH level, but it was fun to sit and talk about how the modern retelling evoked certain parts of the original work of DANTE'S INFERNO.

The main character in DANTE'S JOURNEY is Joe Dante, a half-Irish, half-Italian cop in 1961 who has lost everything. He wakes up in a bizarre place and sets off in pursuit of the man who killed his family. We don't have to beat around the bush. He wakes up in Hell. Duh!

The character's dialog is simply fantastic. The phrasing and word usage really points out the time period the book is set in. (Does Hell have a time period? Hm...) While the dialog shines we wanted quite a bit more in various places of description. The book moves extremely quickly, and is pretty description-light in places. While Marino certainly evoked the feelings of despair and tireless torment in Hell, he could have really sunk us into the setting by slowing down a second here and there to really send it home.

Perhaps one of the greatest achievements in this work, is the fact while it is set in Hell, the tale retains a sense of humor and keeps it light. It would be easy for a book like this to fall... no, jump, right into a mire of religious castigation about sin. But it doesn't. (Whew, Nick just breathed a sigh of relief.) It's obvious JC Marino has a sense of humor and had a great time writing the book.

The storytelling style used in DANTE'S JOURNEY is one of our very favorites. It swaps between Joe's life(death?) in Hell and his life before he came to Hell. The juxtaposition of what is going in both realms throughout the book is interesting and keeps the suspense going.

For fans of the original DANTE'S INFERNO there are plenty of things that are familiar, but there are just as many twists. This was a nice surprise. We didn't want just a modern copy of the story. Marino's book retains a very strong sense of the familiar and it is fun to see the close parallels to the original, but it is where they diverge that are the best parts of the book.

We should say that despite our familiarity with the original work, a person could very easily pick up DANTE'S JOURNEY with no prior experience to the story and enjoy it. While we had description and clarity nitpicks, we totally give DANTE'S JOURNEY a thumbs up and recommendation.

As he said in the interview John's website is www.jcmarino.com

Recommended Age: 16 and up
Language: We were surprised. There is cursing, but not very much.
Violence: There are some action scenes, but nothing incredibly gruesome. Hell could have been particularly violent, and there is a bit of it (uhhh eternal torture anyone?) but nothing to be concerned about.
Sex: Even in the circle of Hell you would expect it, there is nothing really. Some references is all you'll find.


Interview with Kristine Kathryn Rusch

First off, Kris, we want to thank you for taking the time to chat with us a bit. As per tradition here at Elitist Book Reviews, we want to give you a chance to brag a bit. Tell us (and our readers, of course) what makes you an awesome author. Don’t hold back, modesty isn’t allowed.

Wow. This isn’t in my nature. Tried answering this question twice and found that my Midwestern upbringing and my natural reticence make it impossible to do. So gee, I guess, um…all I can say is read my stuff and find out.

Why don’t you give our readers a bit of your writing history.

I started writing really young (my first story finished at age 7). When I was 12, my brother gave me a subscription to Writer’s Digest, and that set me on the road to professional writing. I started writing nonfiction professionally at 16 when I did the high school column for the local paper (and got paid for it!), and sold my first small press short story at 22. Sold my first professional short story at 25 and my first novel, The White Mists of Power, at 29. I haven’t looked back since.

How about we chat a bit about your novel, DIVING INTO THE WRECK. Frankly, we loved it, and we don’t like very much SF. Where did the ideas for this novel come from, and how did you manage to make them so distinct?

I love old-time sf—the rockets and rayguns stuff that the print version of sf hasn’t seen for years. Adventure fiction for lack of a better term. I read an article about diving old ships in the ocean, and realized that some day someone would dive old spaceships (I hope!), and that got me the first section. That—and stories my husband Dean Wesley Smith has told about diving for bodies with search-and-rescue in Idaho. (He’s done almost everything, that man.) Then I saw an article about cremated ashes left in the basement of the Oregon Mental Hospital (the same one Ken Kesey wrote about in One Flew Over the Cuckoo’s Nest). The ashes had no names, only numbers, and the key was lost. The paper was calling it a room of lost names. I got lost souls from that, dunno how, and that became the novella, “The Room of Lost Souls.” Halfway through writing it, I realized that this was part of the same story as “Diving.” And then I had to finish it all. There’s more, you know. Just sold Asimov’s another novella in Boss’s world. And in 2009, published another in Asimov’s called “The Spires of Denon,” which is set in the Diving world, but doesn’t involve Boss.

We mentioned in our review of DIVING that we were impressed with how accessible the novel was. Was this a goal of yours when you began writing this novel? If so, why was it important for you?

I want people to read science fiction. I’m a former science fiction editor and I can’t read half the novels published out there. That’s just wrong. SF was one of my biggest escapes as a kid. I still love the TV shows (Stargate: Universe, anyone?) and the movies, but the many of the sf print people put that down as “unoriginal” or “has been done before.” (Just this month got a professional reviewer comment on one of my short stories that it was a great story, but not worth calling a good sf story because it didn’t do anything new.)

Here’s the crazy thing: if you made that the criteria for any other genre, the genre wouldn’t exist. Murder? It’s been done before. Romance? You had that in your last book. As my college creative writing professor said on day one of class: There are seven plots. Shakespeare did them better than anyone. If that scares you, leave now.

Any plans for future stories set in the DIVING universe with Boss as a PoV?

Oh, yes.

What do you consider the best book you’ve written so far?

The one I just mailed off. It’s always that way. And it’ll always be a different book that no one has seen—except Dean, who is my first reader.

You’ve been writing SF for quite a while now. What are some of the recent trends that you like and dislike about SF?

I love the kick-butt heroines that are taking over the field. Just love .’em. And I’m happy that so many editors, especially in books, are going back to the adventure side of the field, no longer caring about that “this has to be new” thing. I love the way that YA has taken over sf. You want good sf? Go to the YA section of the bookstore. As for the stuff I don’t like, see my other answer, above.

We are going to put you on the spot a little here, so don’t kill us. A few years ago at WorldCon in Los Angeles, you mentioned something on panel that stuck with us. When discussing the blending of genres, you mentioned that you felt Mystery was a style, not a genre. Do you still feel this is true? Why is mystery such a large part of the novels you write?

I did? Jeez I sound so smart on panels, and I’m really just spitballing. I may have meant that noir is a style—Chandler is all about voice, for example. In fact, a lot of mystery is all about voice because—you know—murder and crime has been done before.

I think mystery is my most natural genre. I see the dark side of everything—criminals lurking in every corner. Plus I naturally think about how to break the rules. So I write stories where criminals (usually) get their comeuppance, but the fun for me is figuring out how they would break the rules—and how someone would stop them.

If you could recommend good, accessible SF to hesitant readers, what novels would you recommend, and why?

I used to say read the best of the year volumes, but there are too many and one has become dang near unreadable lately. I will say pick up Asimov’s. Right now, Sheila Williams is publishing some of the best sf in the field. And read more than one issue. She publishes everything from the hard-to-understand slipstream stuff for the old timers, to action/adventure for folks like me. And then there’s Connie Willis: To Say Nothing of the Dog, for example, for good time travel. Scott Westerfeld The Uglies (This is YA). Jack McDevitt’s novels. Mostly, though, I’d suggest picking up an SF book, and reading the opening two or three pages. If you get lost, put it down. That author’s not for you. (My rule is that if they have more than 3 made-up unrecognizable words in the first 3 pages, then I won’t read the rest of the book. It starts hard and gets harder.) If they hook you, buy it. And step outside the genre section. YA and romance have some good sf (check out Linnea Sinclair in romance). You just have to find it.

As busy as you are, do you get a chance to read much? What authors get you excited?

I read every day. And authors new to me get me really excited. So do good books. Every month I do a recommended reading list on my blog. I make a point of citing all the stuff I think is good there. http://kriswrites.com/category/reading/

How do you go about the writing process, and for you, what is the most enjoyable aspect of it all?

I love to write new stuff. I hate writing the end. I used to skip right over that part. (I’m better now). My stories often arrive out of order, and that can be irritating, but fun as well. I never know what’ll happen next—not even in my own brain.

What’s next for Kristine Kathyrn Rusch, or your other pseudonyms for that matter?

A short story collection will come out in the spring called Recovering Apollo 8 and Other Stories. I have a lot of short fiction appearing this year. Then early next year, Kristine Grayson—my goofy funny romance pen name (once heralded as the Queen of Paranormal Romance)—will make a return appearance with a novel called The Charming Way. And there’s more in negotiation and under discussion. I just can’t confirm any of it yet.

Ready for a tough question, Kris? Who do we have to bribe…err, talk with to get cameos in your next novel? We make really good cookies.

Cookies—months of cookies—would do it.

Kris, it’s been a pleasure talking with you. We’ll have you on our Hugo ballots. Any last words for the readers?

Thank you for the request (and the Hugo rec!) For the readers, lemme say this: I can’t do it without you. You’re the best. Thanks for buying and enjoying my work.


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