Interview w/ David Marusek
David Marusek is the author of Counting Heads and Mind Over Ship, the latter of which I reviewed here. You can also find Mr. Marusek at his website. On with the interview: Thank you very much for doing this interview. First things first, can you tell us a little bit about yourself? What got you into writing in the first place, and why science fiction? I’m a middle-aged man living in a cabin in Interior Alaska. I’m single (attention, ladies), love dogs, love to chainsaw firewood, dip for salmon, and spend time in the bush. I always wanted to write, but I only got started seriously in 1986. I thought I would write about a million books, but as it turns out, I’m a very slow writer (my editor says deliberate, not slow). I started out trying to write literary fiction, but I couldn’t get the hang of it. Then someone told me about the Clarion workshops, and I attended Clarion West in Seattle. I sold my first fiction to Gardner Dozois at Asimov’s during the workshop and have been publishing ever since. I seem to have a crazy inventive mind that feels at home with SF, and I love the SF community of writers and fans. Who are some of your favorite authors? Books? I don’t read as much fiction as I used to. Recently, the writer who wows me the most is Jim Crace, a Brit, and two of his books I highly rec are The Pesthouse and Being Dead. He’s not a genre writer, but The Pesthouse is a post-apocalyptic tale much better than Cormac McCarthy’s much-hyped The Road. Mind Over Ship is, in my opinion, a fairly unique novel because it incorporates a plethora of high-concept ideas (such as your fascinating take on the future of human cloning). What was your inspiration for Mind Over Ship (and obviously its predecessor, Counting Heads)? I had two images stuck in my mind that, when combined, was the genesis of Counting Heads. One was of two parents holding a baby that they “retro-conceived.” That is, their own DNA was overwriting the baby’s own genes. In my mind I saw the baby in an in-between state. The other was of a wife abandoning her husband on a busy street when he is captured by a mechanical security device. That’s pretty much how my stories get started, with a compelling image or idea that persists sometimes for years until I do something with it. Since your novel deals extensively with the issue of cloning, do you see human cloning becoming a reality in our near future (not just cloning cells or eggs, but cloning actual people)? Do you think our response to that will be a good one or a bad one? Yes, I see cloning whole humans happening in the near future. At first it will probably be done by unscrupulous people just to see if it can be done. World reaction will be overwhelmingly negative. All world religions will condemn the practice. Even secular humanists will be outraged. I’m not sure if cloning will ever become a standard practice. In other SF stories, the basis for cloning humans has been to raise great armies of superior soldiers or as living tissue banks for wealthy persons, but I don’t see that happening. Other technologies will fill those needs. In my own books, the labor force is made up of specialized, contented clones. This presumes that personality is tied to DNA, probably more-so that it actually is, but it makes a dandy conceit for fiction. (I have recently learned about epigenetics, which probably plays a major role in this.) Which if your clone models in Mind Over Ship is your favorite? Why? The Lulus, because they’re hot! Do you plan to write new stories in the universe of Mind Over Ship? Yes, installment #3 is bubbling in the back of my head. I’ve been moiling in the CH and MOS universe for about 15 years, though, and I need a break from it. My current novel project is completely unrelated. In fact, it’s set in contemporary America. It’s all very hush-hush, and I can’t say anything about it. What other projects do you have coming up and can you tell us a little about them? Besides the novel, I’m doing a fantasy story, my first effort in that genre. It’s called “Modern Parenting–Circa 2006,” and it makes me smile every time I think about it. It’s about a father with a very special ability, and a daughter addicted to danger. Switching gears, what do you think about the present state of the book industry, both on the selling end and on the making end? What about eBooks/readers? Publishing seems to be buffeted by the economy and technological advances. No one knows what it’ll look like in five or ten years, but I think authors may become empowered through POD and ebook tech. I bought a Kindle, and I’m trying to figure out what to do with it. What unusual piece of writing advice would you give to a budding writer? (Emphasis on unusual) See a doctor. No matter how pretty the bloom may be, budding is not usually healthy for humans. And now for a silly question: If you could be any animal on the planet, which animal would you be and why? A dodo, to mess with biologists’ minds.
Interview w/ Edward Willett
Edward Willett is the author of Terra Insegura (see my review here) and Marseguro (see my review here), among other novels. Special thanks to Mr. Willett for doing this interview. Here goes: Can you talk a little about Terra Insegura for those that have yet to read it? Terra Insegura takes up immediately where Marseguro left off. The people of Marseguro have reason to believe that a genetically modified super-plague has made its way to Earth and have decided, even though the Body Purified, the religious dictatorship on Earth, just tried to “purify” their planet, they have to at least attempt to help by sending a vaccine. Good impulse, but things go awry when it turns out the Body Purified is not entirely destroyed yet, nor are the Selkies of Marseguro, genetically modified to be amphibian, the only new race of humans spawned by Victor Hansen, the genius geneticist who both created them and had a nasty habit of leaving clones of himself around for other people to trip over. Terra Insegura is about the battle to decide the shape of the new society about to arise on the depopulated Earth. One of the things I loved about Marseguro, and which continues in Terra Insegura, is your approach to human/Other relationships, with the Other being the Selkies (a genetically augmented human/fish race). What about science fiction makes it “easier” to address humanity’s less appealing qualities (discrimination, segregation, and even violent extermination of “the Other”)? (In your opinion, of course) One of the strengths of science fiction in general is that it allows you to strip out aspects of present-day life that in the real world are wrapped in too many layers of other stuff to be seen clearly. A story about, say, the progressives of the early 20th century who saw forced sterilization or forbidding marriage to certain types of individuals as a good way to improve society, has to deal with so much historical baggage concerning the real people and events of the time, not to mention the politics of the reader (who may not like to be told that some historical figure they revere–Woodrow Wilson, Margaret Sanger, George Bernard Shaw, etc.–had this unsavory side to them), that it can be hard to examine the central issue of eugenics clearly. Science fiction gives us a way of finding, baring and illuminating these kinds of big-picture problems so that we can look at them in a different light and perhaps gain a better understanding of the issues involved. Terra Insegura follows Marseguro, a particularly dark dystopian future/space opera, yet it takes your already established darkness to new heights. Is there some really scary part of you that just loves to put your characters through hell? Do you mentally torture little voodoo dolls? Or is all this darkness simply you way of making a darn good science fiction story? It’s funny, because while I was reading a recent thread on the SF Canada listserver about dark and dystopian fiction (prompted, I think, by the latest book by Margaret “I Don’t Write Science Fiction Because There Aren’t Any Talking Cabbages from Planet X” Atwood), I kept thinking, gee, you people are depressing. I’m glad all my fiction is upbeat! At which point a little inner voice cleared its throat and said, “Have you actually read your own last couple of books?” Really, the darkness in these two books was entirely a function of the story situation I set up. As I think I explained in the last interview, Marseguro grew out of a writing class exercise, the whole thing springing from a couple of opening sentences, one of which contained the line “the water in her gills smelled of blood.” The darkness was built into that first sentence, and the story that grew out of it just seemed to demand the level of unpleasantness I heaped on my poor characters. I’m actually a very cheerful guy. Really! As a sequel, you run the risk of falling short of the preceding novel, of letting your fans down. Terra Insegura never disappoints, and in some ways it is a superior novel to its predecessor. Was Terra Insegura planned from the start, or was it something you put together later on? How did you go about approaching the idea of a sequel and were you at all concerned about “sequelitis?” Terra Insegura was not planned from the start, and Marseguro was complete before I knew for certain I would be writing a sequel, though obviously I had hopes, since I crafted an ending on which to hang one. Outlining the sequel was really the same process as outlining the original book. Marseguro started from just a couple of sentences, as I mentioned, and I just began asking myself questions about those sentences as a way of getting to the story they implied. Terra Insegura was the same process, except I was asking myself questions about things I had mentioned in Marseguro, so I had a lot more to work with. There are always loose ends in a novel, alleyways you could have explored but didn’t, little bits of throw-away scene decoration or dialogue that you put in really as a kind of stage trick, to imply that there is more to the world than is in the foreground of the story. When I started thinking of a sequel, I looked for those bits and pieces that hinted at something more…and then developed that something more. For instance: in Marseguro, early on, there is a scene at a religious service of the Body where a genetically modified female attacks the priest and is shot down. I described her as being feline. That was a throw-away bit, really, just something to dramatize how moddies were being treated on Earth by the Body Purified. Didn’t give that poor dead moddie another thought…until I started plotting Terra Insegura. And then I remembered her and thought, wait. If there’s one feline moddie, there must be others…maybe a whole race
Interview w/ David Bryan Russell
David Bryan Russell is the author of Enchanters, which I reviewed here. Appreciation goes to Mr. Russell for agreeing to do this interview. Here goes: First, can you tell us a bit about yourself? What drew you into authorhood, and why fantasy? I refer to myself as a ‘professional dreamer.’ My creative journey began in early childhood, inspired by adventure stories and mythology, especially the Norse sagas. I began writing around age 12, and concurrently started drawing about the same time. The visual arts eventually dominated my creative output, but my interest in literature never flagged. Regarding my preference for fantasy…well, the colourful Norse sagas lit the initial fire, followed by the body of fantasy literature that fortuitously began to re-emerge in the popular press during my late adolescence. In any case, I have always found the genre full of depth and meaning. In a sense, fantasy constantly seeks to re-imagine the spirit world, and in the process can provide insights to humankind’s most perplexing issues. What have been some of your influences as a writer? I’ve mentioned mythology and fantasy literature, to which I should add the imaginative output of such diverse artists as Caravaggio, Rubens, Jack Kirby, Frank Frazetta, NC Wyeth, Gaugin, Lautrec, and select Pre-Raphaelites, all of whom were excellent visual storytellers. What are some of your favorite books, whether fantasy or otherwise? Hmm…..an abbreviated list must include The Three Musketeers, Huckleberry Finn, David Copperfield, Wind in the Willows, The Time Machine, Treasure Island, Walden, Women in Love, The Jungle, The Grapes of Wrath, 1984, Invisible Man: A Novel, Fritz Lieber’s Fafhrd and Gray Mouser stories, The Martian Chronicles, and the following books by Jack Vance: Tschai, Demon Princes, Durdane, and Dying Earth series, and Emphyrio. Could you tell everyone a bit about your novel, Enchanters? It’s a contemporary fantasy adventure, powered by love. I enjoyed writing the book, which allowed me to distill a number of concepts about magic, and of humanity’s relationship to the natural world. It’s clear from Enchanters that you have a vested interest in the state of the environment. True. This forms part of the motivation of the principal character, but Enchanters is no environmental polemic. What drew you to translate this into the world of fiction? It seemed logical for the character, and the hidden world of magic to which she belongs. Enchanters is a curious novel that tackles the issue of human pollution from a unique angle. What prompted you to create this side world, where the Enchanters exist as a sort of oppositional force to humanity’s lesser qualities? I would not view the Enchanters as oppositional; in fact, it’s clearly stated that they were once bound quite closely to humans. However, circumstances altered over time. In essence, Enchanters charts the personal journey of Glys Erlendsen into a heretofore unseen world, one in which the goals of humanity and those of the Enchanters are often at odds. How she deals with these dilemmas provides the basis of the adventure. Set in Norway , Enchanters seems relatively steeped in regional folklore. What about the country’s mythology that so fascinates you? As I mentioned, Norwegian cosmology stirred my imagination from an early age. The country is almost unique in Europe, in the sense that it never accepted the Christian concept of duality–that is, the existence of an absolute right, and absolute wrong. In simplistic Christian terms, god on one hand, the devil on the other. This flexible thinking–despite the brutal aspects of the Viking period–allowed for the eventual development of a rather egalitarian culture. Most importantly, however, Norwegians successfully held onto their beliefs in the spirit world, and to this day recognise the presence of fairies, elves, trolls, and other magical beings. In part because of these beliefs, Norwegians have an intense reverence for the natural world. I observed these singular traits during my first visit to Norway in 2002, and thereafter decided to set the Enchanters storyline in the country. Do you see fantasy as a great genre through which to examine the human condition as you have in Enchanters? Beyond question it is a supple medium for the exploration of the deeper issues of life. Alas, few authors recognise this potential. What drew you to publish with a small press, and how has your experience been with them? As you have observed, Enchanters is a unique novel. I felt that a small press would be more likely to recognise its potential than a globalist publishing house, where editorial departments routinely favour non-original (and non-controversial) material. What are some advantages, in your opinion, of being published with a small press? Personal attention, editorial and marketing support, and (most importantly) the gift of time to develop one’s ideas. What other projects do you have coming up, and can you tell us a little about them? The sequel to Enchanters, entitled A Shining Realm, will be released in Fall 2010. I am also currently outlining a new series of fantasy novels set in a fully-imagined world. What unusual piece of writing advice would you give to budding writers? Ignore contemporary trends, and develop the most original work you can manage. Be mindful that most writers are seeking to emulate film and television writing, which is inappropriate for the development of potent fantasy literature. Study the great books of the past, and of the present, especially those outside of one’s preferred genres. Now for a random question: If you could be the King (or Queen) of any country during medieval times, which country and why? I presume you refer to the European medieval period…It’s an odd question, since the era was miserable for rich and poor alike, primarily due to the cultural death grip of the region’s vile religious institutions. In any case, I myself am quite egalitarian, and would thus never consider occupying a position of life and death over my fellow human beings. And there you go!
Interview w/ Kage Baker
Kage Baker is the author of The House of the Stag and many other books. You can find my review of The House of the Stag here. Special thanks to Ms. Baker for agreeing to do this interview. Here goes: Thank you for agreeing to this interview. First, can you tell us briefly about yourself? What led you down the path of authorhood and why fantasy and science fiction? You’re welcome. About myself… I’m a middle-aged spinster aunt living in Pismo Beach, California, with my parrot Harry. I was frequently ill as a child and my mother saw to it that I had plenty of books to read, early and often. She also wanted me to become a writer, which for many years I resolutely refused to do– publicly, anyway. Privately I filled several volumes with stuff, mostly set in a fantasy world I’d invented. What I did publicly was join the Living History Center, who put on the original Renaissance Faire, which was nothing like the plastic models now in circulation. It was an educational extravaganza, painfully authentic and absolutely magical. I taught Elizabethan English as a Second Language for them for close to thirty years, and worked as an actress, stage manager and occasional dramaturge as well. This gave me a lot of what you could call unique life experience, so by the time I finally gave in and began to sell what I wrote, I had a lot of material with which to work. Why fantasy and science fiction? Fantasy because I was inclined that way, and science fiction as an offering to my mother’s ghost. She loved science fiction. Who have been some of your influences, whether in writing or some other hobby or profession? What are some of your favorite books? Oh, gosh… Shakespeare, especially A Midsummer Night’s Dream, and it’s affected me in so many ways: wanting to escape to the Wood Near Athens as a child, watching the filmed versions, reading it and savoring the words, watching it being staged Elizabethan-style on a crude wooden stage in an oak forest… All the works of Robert Louis Stevenson, but most especially Treasure Island. C.S. Lewis and Edward Eager and Elizabeth Enright. L. Frank Baum. All their books. Patrick O’Brian’s Aubrey-Maturin series takes my breath away. I’ll read anything Terry Pratchett writes, and his books for kids are even better than his books for adults. The Asterix the Gaul comics. The Flashman novels. Thorne Smith’s supernatural comedies. Peter S. Beagle! Way too many others to mention. The House of the Stag is the second book set in this particular world. What drew you to return to this world? And what about the fantasy genre made you want to return? Actually, The House of the Stag is drawn directly from the huge fantasy world about which I’d been writing from the age of nine or so. Gard’s story is the oldest part. When I was trying to earn money at my craft as an adult, I adapted a minor incident concerning one of Gard’s sons into a short story and sent it out to test the waters, as it were. The story was favorably received, so I went ahead and wrote the first part of the triptych that became The Anvil of the World, my first published fantasy book. Tor was interested in a second fantasy novel, so I went back to my original source material and revised it, and rewrote it (because you may think you know everything when you’re fourteen, but by the time you’re fifty-three your perspective has changed somewhat). Et voila! The House of the Stag. One of the powerful features of this book is how it takes an otherwise cliché plot and twists it on its head. Your novel seems keenly aware of the past of its genre (fantasy), including delving into aspects of myth and fairytale. What do you see as the connection between modern (contemporary) fantasy and the stories of our past? Do you see The House of the Stag as a novel that breaks convention (in a good way)? I hope it breaks convention in a good way, certainly… Here’s the other disadvantage of writing from a fourteen-year-old’s perspective, especially at a time when Tolkien was God and trilogies set in immense detailed universes were what every aspiring young writer set out to create: you don’t realize you’re not being terribly original. But by the time you’re older and you’ve read your Joseph Campbell and you’ve seen all the really cheesy Tolkien knockoffs that make millions at the cost of their muses, and you’ve read a bit of the sort of things Tolkien’s contemporaries were writing, you see the field in a new light. My story involved a foundling coming of age and discovering who he was and what his heritage entailed, which is one o’ them there Universal Themes, and it helps that he discovers that his destiny is to be the world’s Bad Guy, but even so– it seemed to me it was wiser to pare it down to its essential myth, and tell it not as an Oxford don would tell it, but as people would tell it. And just incidentally using that incident in which Gard becomes an actor to comment on the larger Epic Fantasy tradition… sort of getting a dig in. The House of the Stag also deals with issues of identity, slavery, and colonialism, in particularly powerful ways. Can you talk about what drew you to these themes and any other thoughts you might have in how they played a role in your novel? Well, they were in the original version, begun in my childhood, and I suppose that came from the fact that my father was of Native American descent. We grew up keenly aware that there was another side entirely to the story of how Pioneers Conquered America Because God Gave it to Them. When my dad was in school he frequently had to fight to defend himself.
Interview w/ Nicole Kimberling
Nicole is the author of Turnskin, an interesting tale that I reviewed not too long ago. Additional thanks goes to her for taking the time out of her day to do this interview. Thanks for doing this interview. First, can you tell us a bit about yourself? What drew you into authorhood and why fantasy? I started writing stories to impress this girl I was into. It worked a little too well since once I got the girl I had to continue to produce more and better stories. As for fantasy, I’ve just always liked it. I was one of those kids who had a lightsaber and a first edition box of Dungeons & Dragons. What have been some of your influences as a writer? What are some of your favorite books, whether fantasy or otherwise? When I like a piece of fiction I read it compulsively, the same book over and over again for about six months. So, in order of appearance, here are a few books and novellas I’ve read like that: The Borrowers by Mary NortonDragonsinger by Anne McCaffreyVampirella #4: Blood Wedding by Ron GoulartDirk Gently’s Hollistic Detective Agency by Douglas AdamsComfort and Joy by Jim GrimsleySnowball in Hell by Josh Lanyon I also love art and comics so I’ll add a few comic titles: As for Western comics, I was a fan of Red Sonja and Wonder Woman when I was a kid. Then when I was about 29 years old manga started to be translated into English. I really like manga a lot. A few of my favorites: Black and White (Tekkonkinkreet) by Taiyo MatsumotoKusatta Kyoushi no Houteshiki by Kodaka KazumaIchigenme by Fumi Yoshinaga (I can’t wait for Kinou Nani Tabeta? to be translated into English. I’m reading Ooku: the Inner Chambers right now. It’s an AU story that presupposes a gender inversion in medieval Japan that would have put women in charge of society.)Future Lovers by Saika Kunieda Turnskin is a curious love story that crosses multiple forbidden boundaries: non-human/human, Romeo/Juliet, etc. What do you think is so captivating for readers when it comes to forbidden love stories? Beats me. Really I never thought of Turnskin as a forbidden love story so much as a coming of age story. Because the love of Tom & Cloud isn’t really forbidden so much as it’s a bad idea for both of them. I think that’s different than being something like a societal taboo. Where did you come up with the idea for the shifters? Will we find out anything more about Tom’s genetic past, or is this the last we will hear from him and the other characters? I came up with the shifters during a conversation with Ginn Hale. It’s actually impossible for a writer to have a conversation with her for more than five minutes without coming up with an idea. She’s like a force for creativity and it rubs off if you stand close to her for very long. I have no plans to revisit Tom’s world at present. It was invented specifically to tell this story so I don’t really know what else I would write about it. Is Turnskin set anywhere we might know (as in an alternate version of a place that might be familiar to readers) or is this a completely separate world? It’s a completely separate world, based directly on nowhere. Lesbian and gay speculative fiction seem to be taking off in the last few years, and while Turnskin turns the lesbian/gay theme on its head using “alien” figures, it is still, ultimately, a story about people struggling with their identities. Where do you see LGBT speculative fiction going in the relatively near future? I don’t really know if lesbian spec fic could be described as “taking off” but gay spec fic sales have definitely increased, fueled by the rise of the m/m romance reader. As for the future of the whole genre, there is really no way to know. What are some advantages, in your opinion, of being published with a small press? Personal care and attention from the editor and from the publisher. What other projects do you have coming up and can you tell us a little about them? Samhain has just released a short novel of mine called Ghost Star Night. I think I just have to give the blurb, because it’s really hard to sum up. “Thomas Myrdin has been used and betrayed by his king. But his heartbreak troubles him less than the apocalyptic visions that have begun to haunt him; the world burns in ruins and at the center of the destruction is the king’s newborn daughter. As vengeance and visions waken a power deep within him, not even Thomas knows if he’s becoming the kingdom’s salvation or its destruction. Lord Adam Wexley harbors a secret longing for Thomas, but his duty is to protect the newborn princess. When a sudden threat arises Adam must procure the services of the Magician, Edwin Drake, even if it means sacrificing his own body and soul. Drake had seen the worst of kings and courtiers; as a child he witnessed his father’s soul stripped away to leave behind a stumbling slave. Now, Drake protects himself with powerful sorcery and the adamant refusal to affiliate with any of the Four Courts. But the Grand Magician isn’t without weaknesses and Adam may be the one enticement that can draw him to ruin.” Ghost Star Night is a lot more action-packed than Turnskin. It’s the piece I wrote directly after. I think I wanted to write something with more doing and less feeling. And, of course, I am part of the Hell Cop anthology series with Astrid Amara and Ginn Hale. Hell Cop is set in the shared world of Parmas City and it’s kind of an urban fantasy. Hell Cop 2 was released by Loose Id in June. In December I’ll release another, longer book with Samhain called Happy Snak. This is not an LGBT
Interview w/ Paul Genesse
Paul Genesse is one of my favorite authors. I’ve reviewed two of his novels (The Golden Cord and his newest edition to the Iron Dragon Series, The Dragon Hunters) and have interviewed him previously. If you’re interested in learning more about Paul, you can check out his website, or see his novels at Amazon here and here (or wherever you get your books). Now to prevent further stalling, here’s the interview (this interview will also be in the first issue of Survival By Storytelling, so there are some questions that relate to that): Thanks for doing this interview. First, could you tell us a bit about yourself? What got you into writing and other biographical goodies? I’m pretty sure it was a toy castle that sent me over the edge and into madness. I was four years old when I told mom I wanted to be a writer. Dragons and castles gave me reason to live from elementary school through college at Northern Arizona University. I loved my English classes, but pursued my other passion and earned a bachelor’s degree in Nursing Science in 1996. I’m a registered nurse in a cardiac unit where I work the night shift keeping the forces of darkness away from my patients. I’ve also worked as a computer game consultant, a copyeditor, and as a proofreader for a small press publisher. My short stories have been published in various large press anthologies from DAW Books, such as: Fellowship Fantastic, The Dimension Next Door, Imaginary Friends, Catopolis, Furry Fantastic, and Terribly Twisted Tales. I’ve also published three of my Pirate Witch stories in the Pirates of the Blue Kingdoms anthologies. The first two novels in my Iron Dragon Series, The Golden Cord and The Dragon Hunters are out now. Book two, The Dragon Hunters released May 15 of 2009, and both books feature covers by world famous fantasy artist, Ciruelo Cabral. I love teaching writing to people of all ages, and I’m the editor of the free Writers’ Symposium Ezine, dedicated to “Helping Writers Write.” To sign up for the ezine or watch a video about the Iron Dragon Hunters, visit me online at www.paulgenesse.com. The Dragon Hunters is book two in your Iron Dragon series (preceded by The Golden Cord). Could you tell us a bit about this particular book and the series as a whole? The tag line for The Golden Cord is, “Only some bonds can be broken,” and the description is: “A hunter must leave behind his true love, give up all hope of survival and guide his most hated enemies on a suicidal journey to the lair of the dragon king.” That description does describe the series as a whole, as well as the first book. The novel is for ages 12 (or so) and up, and is considered YA, but I think of it more as a teen to adult novel. Ten and eleven year olds usually love it too, but it’s a little scary for some of them. About book two, The Dragon Hunters, the tag line is: “On this hunt, you give up everything,” and the description: “The last of an order of dragon hunters must track down the Dragon King’s Daughter and stop her from getting the Crystal Eye, an ancient artifact that will cause the destruction of their world.” Book two is such a vicious novel, in my opinion. My fighting gloves, which were on in book one, are now coated in broken glass and feature six-inch long spikes that cause permanent damage. The poor characters have a really hard time in this book, and I’m very proud of the obstacles they have to overcome. The world is much harsher than the main character, Drake, realized. Things are not black and white. Survival may mean giving up any hope that he has of ever returning home. How do you feel about the YA category? Do you feel that it is misleading to potential readers (i.e. it puts off adult readers because they assume that it is essentially dumbed down for youngins)? I do feel that the YA category is misleading to most folks, including me. A large amount of very advanced novels get lumped into the YA category, but they’re really not books specifically for Young Adults. They’re books for anyone of any age. The truth is that the specific category books get put in are marketing decisions by the marketing people at the book publishers. YA books sell more and if the books can be put into that category, many publishers put them there. The book industry is driven my marketing. This particular installment in your Iron Dragon Series expands the scope of the world you began in The Golden Cord ten fold by taking Drake and his two Drobin comrades into new territory, particularly into an expansive desert with its own peoples and cultures. Can you talk about your approach to world building here? What was your inspiration for the people of the Khoram Desert? I love world building in general, and the world of Ae’leron is a massive world of mountainous interconnected plateaus with sheer cliffs at every edge. When you look off the edge, all you see is an ocean of clouds, the Void. No one can see beneath the mist that obscures the view into the Underworld. Planetary geography, such as Olympus Mons on Mars (it’s 65,000 feet tall and 500 miles in diameter) inspired me. Olympus Mons is a shield volcano and so are the plateaus in Ae’leron. National Geographic Magazine and all the shows about the world in general influence me. Now in book two, the characters get away from the edge of the world (the lip of the Void) and go to the interior, the Khoram Desert. I grew up near Death Valley and spent most of my life in the desert, so living there had a huge influence on me. I was inspired by the Northern African cultures of the Sahara, the ancient Israelites and