Podcast: Play in new window | Download | Embed
Subscribe: Apple Podcasts | Google Podcasts | Spotify | Amazon Music | Stitcher | Email | TuneIn | RSS | More
An hour-long conversation with Eric Flint, New York Times-bestselling author of the Ring of Fire alternate-history series, which began with 1632, and more than 50 other science-fiction and fantasy novels, both on his own and in collaboration, as well as many pieces of short fiction and dozens of anthologies.
Eric’s Public Page
Eric Flint’s writing career began with the science-fiction novel Mother of Demons. With David Drake, he has collaborated on the six-volume Belisarius series, as well as a novel entitled The Tyrant. His alternate-history novel 1632 was published in 2000 and has led to a long-running series with many novels and anthologies in print. In addition, he’s written a number of science fiction and fantasy novels, and now has more than 50 novels in print, as well as many pieces of short fiction and dozens of anthologies that he’s edited. He currently resides in Northwest Indiana with his wife, Lucille.
The (Lightly Edited) Transcript
So, welcome to The Worldshapers, Eric.
We met very, very briefly at DragonCon last year, which was the first time I had ever been to DragonCon—I found it a bit overwhelming, but I did find the Baen Books table and actually signed up a couple of people to be guests, and you’re one of the ones that I talked to there. Other than that, we’ve never crossed paths, I don’t think, at conventions anywhere, or anything like that.
Not that I recall, no.
Well, we’ll get into 1632 a little bit later, and the Ring of Fireseries, but I always like to start off by taking people back—and I always say this, “into the mists of time,” to find out how you first became interested…well, first of all, in science fiction and fantasy, probably as a reader, because that’s how we almost all start, and then how you got around to trying your hand at writing and how that all worked out for you. So, when did you first become interested in the field?
Well, I started reading science fiction when I was about 12 years old, I think. My mother bought me a copy of, a hardcover copy of one of those Winston juveniles, of Robert Heinlein’s Citizen of the Galaxy, and I was very taken by it. And shortly thereafter I remember reading Andre Norton’s Star Rangers, and I also remember reading…it has two titles. The one that it was originally published under was The Survivors and its re-title is Space Prison. It was written by Tom Godwin. And those three books really got me into it, and after that I would read everything I could get in the school library. I started writing science fiction when I was about 14, and I kept writing it through high school. I once had a very nice rejection letter from John Campbell, whose handwritten, two-page letter, which I lost decades ago—I feel bad about now—at the time, to me, was just a rejection letter, you know. I don’t know who Campbell was. Then I did some more writing in college and then I stopped writing pretty much for about 25 years, and then I started again when I was in my mid-40s. I had one novel that I had started and not finished and it kept nagging at me, and when I reached the age of 44, I think, I just realized I didn’t want to be lying on my deathbed regretting the fact that I never tried to finish the book. So, I went ahead and finished it.
In 1992 I took a part of that novel and rewrote it as a short story and submitted it to the Writers of the Future contest, and it won first place in the winter quarter of 1992. And that’s really what got my career off the ground. I didn’t publish anything else for four years. I tried several times, but with short stories, but I’m really not…I’m really a novelist. I finally just said, “Oh, to hell with it,” and I just concentrated on writing novels. I finished the novel that I’d started back in…Jesus, when was it…I started when I was 22 years old, back in 1969. I got that one finished. I submitted…I got an agent. She warned me, she liked the book, but she warned me it was going to be a very hard book to sell, which it proved to be. After a couple of years, I told her take it off the market because there’s no point just racking up rejection slips.
I had written in the meantime a much more straightforward science-fiction novel called Mother of Demons. And so, we started shopping that around, and that’s actually my second book I wrote, first one I sold, Baen Books decided to buy it in 1996 and it was published in September of ’97. And right at the same time, Jim Baen offered me a collaborative series with David Drake, which became the Belisarius series. And that’s what I worked on next. That wound up being six books. I did the first four back to back, right in a row, didn’t work on anything else. And then I wrote my next solo novel. which was 1632, which came out in the year 2000, and my career took off quite rapidly after that.
Well, going back to when you were first writing as a as a kid, did you have people who encouraged you along the way, or were you sharing it with other, you know, with your friends, and finding out that you could tell stories, or…? What were you doing back then?
Well, in high school I was sharing it with girlfriend, not, pretty much, anybody else. She was quite supportive. My mother was, too, and a more distant…you know, somewhat greater distance. I was quite self-contained, so I didn’t really talk much, either. There’s a line…early in my life that said there’s nothing quite as ridiculous as an unpublished author and I sort of always kind of felt that way, so I didn’t really talk much about it until I get published. I talked more about it in college because that novel I started was originally a collaborative project for me and three of my friends, two of whom dropped off fairly early. The second one, Richard Roach, has stayed with that project ever since. The novel, the first one I wrote, is actually a collaborative novel with him. So, obviously I’d talked it over with them because we were all working together.
You started collaborating early.
Oh, yeah, very early. You know, not in high school, but once I got to college.
You actually studied history at college. Did any of that ever play into your fiction or did just the mere study of it help you when it came to writing some of your…?
Almost all of my fiction, one way or another, is historically rooted. That’s obviously true of the alternate history, which is what I’m best known for. Now, alternate history represents a little less than half of what I write, so I write a lot of other stuff. But, for instance, my science-fiction novel The Course of Empire is modeled after, or inspired after, my thinking about the Roman conquest of the Greeks. My first novel, Mother of Demons, is based on episodes in southern Balkan history, in the late 18th, early 19th century, which is what I was studying in college. Americans don’t recognize it. My friend Dave Freer is South African, he spotted it right away. That’s just generally true, that I’ll look to historical models as the basis for telling a story, even though the story itself might not technically be an historical fiction, but straight science fiction, but it’s going to almost always have an historical basis to it. So, yeah, I’ve been, in that sense, an historian my whole life.
Now I like to ask authors, because some have and some haven’t and some who have wished they hadn’t…have you ever had any formal creative-writing training?
I took a course in creative writing in junior college one semester. The teacher was quite nice, and I learned some about the use of language. The problem is…the problem with creative-writing courses is that they can sometimes be helpful teaching you how to write, but they’re not usually very helpful at all in terms of teaching you how to tell a story, which is not the same skill They overlap but they’re not the same. And, from the point of view of being commercially successful, it’s being able to tell a story that really matters, not so much how well you write. So, I took one semester of that. I don’t regret taking it, but I can’t say it particularly helped me much.
Yeah, I get a variety of answers on that. A lot of authors who write science fiction and fantasy in particular found that it was not something that their creative-writing teachers were comfortable with or supportive of in any way, and there was often some conflict along the way, when they were trying to write that kind of thing in a creative-writing session.
Well, that was certainly true in the time I was going through college. That was way back in the ’60. Today, there’s a lot more flexibility in the academic world toward genre fiction in general, science fiction in particular, but in those days there wasn’t. I knew a case of a professor who actually got fired from a college because they found out he’d published a mystery novel, which he did under a pseudonym, but they, you know, the word leaked out. So…you know, there’s that. I think…I don’t know, I think the bigger problem is simply that…it depends on your orientation. What’s called literary fiction is today a genre of its own. It’s very rigid, it has all kinds of tropes you pretty much have to follow, and I personally would find it quite stultifying. And a lot of great literature of the past wouldn’t fit into it all. My first novel written, Forward the Mage, is based on the satires of the 17th and 18th centuries, which were fantasies, most of them. That’s what it was based on. But it would have been hard to try to get that through in a kind of literary [fashion].
Now during the 25 years that you weren’t writing, you were doing a lot of things: meatpacker, longshoreman, truck driver, auto forge worker, glassblower. That’s a lot of practical hands-on experience doing things that a lot of writers aren’t exposed to. We do get a lot of writers who have had a lot of odd jobs over the course of their career. Do you find that having had that sort of, I don’t know, I want to call it salt-of-the-earth, I guess, experience, does that feed into your fiction?
Yeah. Particularly the 1632 series…
Yeah, I notice it there, for sure.
Yeah, that’s probably where you see the most. That town of Grantville is actually very closely modelled on the town of Mannington, West Virginia. I lived in that area for about a year and a half. I find one thing that tends to be absent…not entirely, but it’s pretty thin on the ground in science fiction…is the working class. It’s…they kind of show up as spear carriers, if they show up at all. And I just wanted to write a story whose protagonists were, you know, not engineers, not Navy SEALs, you know, just working stiffs. And that’s pretty much who populates, well, the American characters who populate the 1632 series. Once the time-travel event happens it gets broader than that. There are kings and cardinals and all kinds of other people get into it. But the town itself was just a small coal-mining town in northern West Virginia.
Did you ever work in a coal mine?
No. I tried when I lived there. I always wondered why anyone worked in a coal mine, and when I got to West Virginia I discovered real quick that it was the only job that paid worth a damn. So, I went through the course—you have to go through an 80-hour course in main safety. I went through it, got my certificate, but they were not hiring at the time. So, I wound up kicking around a machine shop, driving a cab, doing shape-up at glass factories. That’s where I learned some parts of glassblowing.
Well, my big brother actually did work in a coal mine, although it was an open-pit mine, it wasn’t an underground mine. But he had worked in an underground mine, a nickel mine in northern Manitoba. So, he has some of that experience. And I actually recently wrote the history, a history of the mine-rescue competition that they run every year here in Saskatchewan, so I hung out with the volunteers that do that kind of mine safety and mine rescue. That was very interesting, to talk to those guys.
So, well, let’s talk about 1632, because we’re going to kind of focus on that as an example of your creative process. I’ll let you give the synopsis so I don’t give away something that shouldn’t be given away to somebody who somehow hasn’t managed to read any of the books yet.
Well, the basic premise is really quite simple. There is a cosmic act, the nature of which I explain in a three-page preface, which is just handwaving. This is just a MacGuffin to get the story going. I thought I came up with a clever one. But it’s essentially a cosmic accident that causes a time transposition event, where a chunk of the modern United States—and by modern we’re talking about the year 2000, because that’s when I wrote the book—Is transposed in time and place into the middle of Germany in the year 1631, which is right smack in the middle of the Thirty Years War, which was probably the most destructive war in European history, at least since the collapse of the Roman Empire. So, what happens is, this small town, about 3,500 people, just literally materializes, about a six-mile diameter. and finds itself in the middle of that part of Germany. It’s called Thuringia, which during the Cold War would have been the southern part of East Germany. And they find themselves in the middle of one of the greatest wars of history, which went on…it wasn’t really a war, it was a whole running cascade of wars. It went on for 30 years. It’s estimated that possibly a quarter of the population of Central Europe died in that war. So, basically, what the series is about is simply, all right, you’ve got 3,500 Americans from the year 2000, with whatever resources they had in this small town…and I was very strict about the resources available. The basic rule, which I’ve applied ever since and everyone who writes in that universe has to obey it, is that if you can find something in Mannington, the real town of Mannington, then you can put it in Grantville, but if it’s not there, you can’t. The one exception, what we call “wild cards,” which is…I will allow a certain number of those. What I mean by “wild cards” is, for instance, in the second novel, 1633, my co-author, David Weber, and I introduced an aircraft designer who builds an actual plane. Well, the odds of there being a retired aeronautical engineer in a small town or low, but any small town in America with 3,500 people in it is going to have a certain number of people that aren’t likely to be there, but they are. So, I allow that as long as people don’t overdo it.
So, that’s the basic premise. All the books have followed, and we are now up to…Baen Books has published—I really lose count—I think we’re up to 24 novels, with the one I just wrote that just was published last month. That’s 24 novels that Baen publishes, and I have my own publishing house, called Ring of Fire Press, and we publish, also publish, stuff in the series, and there’s another probably dozen novels that we’ve published. In addition, there are 12 anthologies of short fiction in paper, and back in, 12 years ago, we launched a magazine, an electronic magazine called the Grantville Gazette, that’s been in operation now for 12 years. It’s a professional magazine, it’s recognized by the science fiction writers’ association as a qualified professional venue. It’s made a profit for 12 years. It’s become a very big, sprawling enterprise. And by now, something like 200 people have written something in this setting, most of them just one or two stories, but…most of my co-authors, quite a few of them, are actually people who started as fans and sort of learned to write within the series. And if they got good enough, and I thought they were ready for it, I’d offer them, you know, I’d ask if they wanted to try their hand at collaborating on a novel, and that’s where most of my authors—not all of them, but most of my collaborative authors—actually began, that way, not as established professionals.
Well, it’s been 20 years, then, since you wrote the first one. Do you remember what the initial seed of the idea was that gave birth to all this?
Yeah, I had…just from living in the area…I can’t remember how far back the idea came to me. I’d had the idea for a long, long time that a small coal-mining town would make a terrific collective protagonist in some kind of adventure. I just couldn’t figure out the adventure. And then, years later, I was working with David Drake and he had a new novel he wanted to do, and I was originally going to co-author, it wound up eventually being someone else, but the basic premise of that novel is near-future, and it was posited that China had broken up and Vietnam and southern China were about to go to war, and a band of alien mercenaries show up and offer their services to the Vietnamese using an American intermediary who lives in Hanoi, he’s an expatriate, he used to be…he was, is, a Vietnam veteran. David did not develop the…he had the plot well-developed, but he didn’t develop the background of the alien mercenaries. And I asked him if he minded if I fleshed it out, and he said, “No, go ahead.” So, I started thinking, “Well, I’ll use a historical model, just to give me a framework,” which is what I usually do. And the great era in modern times of…well, “modern,” using the term broadly…of mercenary armies was the Renaissance and what’s called the early modern period, and they were very prominent in the Thirty Years War.
So, it had been many, many years—decades—since I’d read anything about the Thirty Years War. I don’t think I read anything about it since a little bit in college. So, I decided to study it, and I started reading…there’s a classic narrative history by C.V. Wedgewood called The Thirty Years War, and I picked it up and started reading it, and about halfway through it dawned on me that this would be the perfect setting for my…that collective protagonist. And that’s where the idea came from. I then sat down and developed it into a plot and submitted it to Jim Baen at Baen Books. He liked it, and it took off.
How does that look for you, when you develop an idea into a plot? Or you a staunch outliner…what exactly do you do?
Yes. I outline quite thoroughly. What I will wind up with is a chapter-by-chapter outline of the book—not lengthy: I do it on an Excel sheet and my rule is that each chapter has to be summarized in one line, so I don’t get long-winded. I just want to capture the heart of it. I don’t start there. I start with thinking it through. But, yeah, before I start writing, I try to have the story well-plotted out. In the course of writing, things change—that always happens—and that outline will, to some degree or another, get transmuted, although it never gets transmuted too much, because you have to have a coherent story arc, and if you don’t have an ending and a beginning and the link between, you don’t actually have a story. So, nothing tremendous changes, but things can change.
For instance, in 1632, the book actually ends three months before I’d planned to end it. I’d planned to end with the Battle of Whitsun, which took place in the fall of 1632. But after I wrote the big scene at the high school, big battle at the high school, I realized I’d actually resolved all the issues there. So, I called up Jim on the phone and said, “Jim, I actually think this book is finished.” So, he said, “Let me see it.” I sent it to him, and he said, “Yeah, you’re right. This is where we should end it.” So, you know, you might not necessarily end at exactly the same place, but the basic…the ending is the same in the sense of what it resolves, let’s put it that way.
How long would your outline be when you complete one, ready to start writing?
It depends. If I’m submitting an outline as a proposal to a publisher, where they want something, it’ll be around, I don’t know, 3,000 to 7,000 words. If I’m just doing it for myself I tend to do a lot of the initial outlining just in my own head, and I don’t start really putting stuff on paper until I’m ready to actually do this final chapter-by-chapter outline. But by the time I get to that point I’ve thought about it a lot.
I liked something in your frequently asked questions on your website where you made a distinction between, you know…a plot is not just a sequence of events, it’s an actual structure, a skeleton that you hang a story on, and I liked that distinction, because when you’re plotting, when you’re a young writer, a beginning writer, and you’re plotting, it is easy to try to, you know, “Well, I’ll just add on a bunch of things that happen and then somehow I’ll have a story,” but a story is more than that, isn’t it?”
Yeah, yeah, it’s …the way I try to explain this to people is have them do a mental experiment. Just write down everything that happened to you yesterday, from the time you woke up to the time you fell asleep. Just, you know, write it all down, like a story. Do you have a story? And the answer is, no, you don’t have a story. You just have a sequence of events. It’s not…I mean, it’s coherent, there’s reasons for everything you did, but there’s no beginning to it. There’s no end to it. Every story has some kind of conflict of some kind that has to be resolved by the end of it, at least to a degree. That’s…I don’t think there’s ever been a story, at least not a story that very many people are going to read very often, that doesn’t have that characteristic. And when I write, the first thing I start with is actually not a plot or characters. I start with figuring out…a conflict, basically. And since my interests tend to be very social and political, in my case it’s usually a social or political conflict of some kind that I’m interested in and think is important, and then I just start thinking about it and figuring out ways that you could put that into fiction. That’s where the 1632series came from. And then I start working my way down in, you know, different levels of concreteness, as far as developing goes.
One of the points…you often hear writers say they write character-driven stories. And there are many who think they’re working that way, and consciously they are, but if they’re any good what they’re really doing is plotting without realizing it, because the thing is this: what makes a character a character is what they do. And if you don’t know what they do, then you don’t have a plan. So, you really have to have a plot to develop a character in the first place. Otherwise, what you’ve got is not really a character, it’s just a collection of personality traits. And what kills more stories is just that they ramble around and don’t seem to have much point to them and eventually just sort of come to an end. But…when I was editor of Jim Baen’s Universe Magazine, I…the stories that got up to me had to get through readers, so that they were, they were well-written, I mean, they weren’t badly written, those would be rejected before I ever saw them. But the most common reason I would reject a story is just because it…there was nothing wrong, the writing was usually quite competent, and there was nothing really wrong with the story, exactly, but there was nothing right with it either. I mean, you know, it just wasn’t much of a story. And it’s hard to explain that. If there’s any one single talent to being an author that’s hard to teach anyone, it’s how to recognize what’s a good story and what isn’t. That’s the place where talent itself really comes in. I can teach people pretty much everything else, but that’s hard to teach.
You mentioned characters. How do you…how do you identify the characters that you need in the story, and then how do you…how much do you work on developing them before you start the actual writing?
Well, I don’t know. I mean, the characters kind of emerge, just in the process of thinking about a plot. Honestly, I’ve never had any trouble coming up with characters. It’s not something I have to spend any time really thinking much about, except—the one time I do have to think about it is if I want to use an actual historical figure. For instance, the series I’ve started, there’s two books in it, and I will within a year be starting a third one, and it’s a series set in Jacksonian America. It’s all from history. The first book’s called 1812: The Rivers of War, and the second one is called 1824: The Arkansas War. And…it’s written during the Jacksonian era, and one of the main characters in the series is Andrew Jackson. And I studied Andrew…and also, the central hero is Sam Houston. So, you know, this is where I was working with real people, I mean, this is not characters I invented, so I had to…I read…Jesus, I don’t know…half a dozen biographies of Houston and a whole lot of Andrew Jackson, to figure out if I could work with them, you know, in fiction, and I became comfortable that I could. And I’m pleased with the result, but that’s where you do have to spend some time thinking about it, because, you know, you have to stay reasonably true to what we know of the person’s character. You’re not just inventing something.
Well, and you have mentioned somewhere in what you had in your website, as well, that for 1632, the research could be quite intensive because you’re writing about a real period in history. I think somewhere you mentioned you would sometimes take an hour to write one paragraph because of the research you had to do to make sure you got all the facts right that were in that paragraph.
Yeah, sometimes. Yeah, that happens. I mean, happily with something like the 16…that problem has gotten less and less as time goes on, partly because…well, there’s a number of reasons, one of them is, it’s an alternate history, so the further you go, the more the history has changed, so it’s hard for anybody to prove me wrong. The second is I just get more and more familiar with it. And the third is that by now that series has a very active and dedicated…I don’t even want to call it a fan base, because a lot of these people are much more than fans, many have become writers themselves, and it’s an important project for them, too. You know, it’s become a very collaborative effort on the part of a lot of people, and a lot of those people know things I don’t know. So, you know…one of the major writers, Virginia DeMarce, with whom I’ve co-authored two novels…she has her Ph.D., and basically she’s a specialist in the social history of 17th-century Germany. I mean, you know, her knowledge of it is way deeper than mine. That’s the kind of thing you don’t get from just reading books. I mean, you have to read, do the kind of studying that an actual professor does.
So, I try to develop friends and contacts who are experts on all kinds of things, who are people I can go to if I need to find out something. If any issue comes up involving guns, I will run it by Larry Correia and David Drake, every single time, just to make sure I’m not making some mistake. I’m fairly familiar with guns, but they’re complex, and so…I used to, unfortunately she passed away a few years ago, I used to have Karen Bergstralh, who was an expert horsewoman, so anything involving horses I would run it by Karen to make sure I wasn’t missing something, because there’s a lot of things about horses that people think they know or understand, but they really don’t.
Yeah, I’ve heard that from horse people many times, about how horses in books don’t have much relationship to real horses.
No, they don’t, they don’t. Movies are even worse. So, with something like the 1632 series that’s gone on for 20 years, that makes life a lot easier for me, than if it’s something new I’m starting with, then I kind of have to do all the, you know, the initial spadework myself.
One thing I like to ask series writers…the longest thing I’ve written is a five-book young adult series, which was only about 300,000 words in total, and yet, I started to find that there were, you know, concerns about continuity and occasionally writing something in a sort of a throwaway that comes back to bite you later. Have you ever encountered anything like that in your in your series?
Oh, sure. I have a saying, and my friends and co-authors, I’ve said it so many times that they like to repeat it, but the motto is, “Vague is your friend.” And what I mean by that is that 95 percent of what’s in a novel is put there by the reader, not the author. A novel is not a photograph, it’s much, much more like a pointillist painting, where the artist is giving you a framework, but a lot of it you’re filling in yourself. And, the thing you do is… some things you’re very concrete about, very specific, if you know you’re right about it. Then you put in some very detailed and, you know, nail it down, cross all the “T”s, dot the “I”s, and so on and so forth. If you do that fairly often, then the reader feels secure that they’re in a real story, and what they don’t really notice is how often you’re vague about what exactly, where exactly it’s happening, when exactly it’s happening, who exactly might be around there, so that you don’t have that problem…which you can have even a single novel, much less a series, of discovering you’ve stumbled over your own, what you’ve already put down. But, yeah, I try not to.
It’s a lesson I got from Jim Baen, he died years ago, but he was my publisher. He said, “Don’t tell the readers anything they don’t need to know and don’t tell it to them until they need to know it.” And that’s pretty much a rule I’ve tried to follow. And don’t put something in just because you researched it and you know it, and so, what the hell, you’re gonna put it in. Every scene in a novel should be part of the plot. And we all get a little loose and sloppy about that, including me. I mean, we’ll all write some scenes that are just there for the fun of it. But in theory, at least, and I did try to pay attention to this, every episode, every plot point, I mean, every scene in a novel, most of it at any rate, what is it doing to advance the plot? And if the answer is, it’s not doing anything to advance a plot, then why is it in the story? There another saying I like, which was invented…not invented by me, it’s by Anton Chekhov. It’s called Chekhov’s Dictum, which is…he was the great Russian playwright…and it was, “If there’s a shotgun on the mantelpiece in the beginning of Act One in the play, it needs to have figured somehow in the story by the end of Act Three, or it doesn’t belong there in the first place.” And that’s something that that I think you need to follow, and I find a lot of writers don’t. There’s a lot of novels out there that are honestly pretty ramshackle. There’s just all kinds of baggage in there that really isn’t doing much of anything.
Well, when you have written a draft, what does your revision process look like? Do you bang out a first draft and then go back, and do you revise a lot, do you keep it revised as you go, or how does that work for you?
I’m fortunate in that I have…I sort of have the authorial equivalent of perfect pitch. Typically, a chapter I write is the final draft. Now, I will polish continuously as I go along. What I mean by that is, after a day or two or three, I’ll go back and reread and, you know, I’ll polish the prose, but I’m hardly ever rewriting the actual chapter. Occasionally I get a chapter that I just decide didn’t work and I’ll just scrap it altogether. But I don’t do the kind of rewriting that a lot of authors do. And the reason I don’t is just ’cause I found I really don’t need to. I’m lucky that way. I mean, it’s not…it’s like perfect pitch for a musician, you’re lucky if you have it, but if not, you know, it’s not something you learn. But it enables me to write pretty quickly. I do polish all the time. I mean, I’m constantly going back over, but when I’m looking for there is specific word usage, that kind of thing, not changing or rewriting major plot points and so on.
And I see, from your website, again, that once you start writing you just write through, like, you sort of write in a burst to finish the book?
Yeah, I…yes. I don’t…writers all have different work habits. There are some writers who religiously write every day and they set goals, you know, 500 words a day, whatever. I don’t write like that. I will…when I get rolling in a novel I’ll start really getting into it and I will…pretty much, that’s what I’m doing. And then, once the novel is finished, I’ll take several weeks off before I try to start writing anything else. Now in my case, because I do so much collaborative writing, I’m not…it’s not like I’m not busy, because my co-authors will have drafts they want me to look at, you know, so there is a lot of editing work I do also, and I’ll do that, but I don’t try to…and I don’t ever try to write two novels at the same time.
Speaking of editing, do you get much in the way of editorial revision then, coming back from Baen, or suggestions?
The only time I’ve gotten…I’m trying to think. Mostly when I get editorial input from Baen, it’s actually not at the novel stage, it’s at the proposal stage. For instance, my friend and co-author David Carrico and I submitted a proposal for a science fiction novel called Hydra to Toni Weisskopf…oh, it’s been over a year now…and she read it, and she had problems with a number of pieces, parts, of it, and she laid it out: “This doesn’t seem to work to me, that doesn’t…”, and so we did a pretty major rewrite of the proposal, because I agreed with her points. So, that’s mostly where I get the input. Once the story’s written, the only time I’ve gotten a lot of input, was early on…I think it was the third Belisariusbook, which was about the fourth novel I wrote. Toni Weisskopf, who was then the chief editor, did a very detailed line edit of the novel. But what she was trying to do was show me was…I had certain tics and habits as a writer I wasn’t even aware of…
I think we all do.
Yeah, and she was just going through and showing them to me so I could see it. And I learned a great deal from that. It was very helpful. That’s the only time I’ve had that. I did get a lot of input from Jim on 1632. He was very taken by that book and he worked more closely with me on that book than any other I ever did. I would send him…once I’d written a few chapters I’d send it to him and he’d read it and get back to me. So, that…there was a lot of editorial feedback. It wasn’t…he wasn’t sending anything…he wasn’t sending me manuscripts with red ink on them. We’d talk on the phone. And I did two books with Del Rey. I got a lot of editorial input from Steve Saffel and later from Jim Minz. Steve edited the first book, Jim edited the second. And…that’s kind of it.
Well, we’re getting a little short on time here, because I know you have to break off here in a few minutes, so I do want to get the big philosophical question out, which is, “Why do you do this, and why do you think any of us do this? Why do we write science fiction and fantasy?”
Well, I’ve always been interested…I’ve always been interested, and I’ve always enjoyed it. So, when I considered, you know, when I decided I was going to write again, I didn’t really have to think about whether I was going to write science fiction or something else. I just figured I’d have a lot more artistic leeway and freedom in science fiction than I would in anything else, which was true. In my case…my whole life, I was a political activist for close to 30 years, which is why I stopped writing, and…issues of, social issues in general, how human society works, the moral and ethical issues and values that come out of that, are things that have been central to my life ever since I was a kid. And that’s, one way or another, usually what I’m writing about in my novels.
Now, I’m writing novels to entertain people, so I’m not trying to beat anybody over the head with my own specific political viewpoint. And I think fiction is really lousy at that anyway. I can explain why—it takes some detail—but there’s a contradiction between the way political theory works and the way fiction works, which is that, if you want to analyze things as a politician or as a campaign manager or whatever, you have to abstract the individual out of the equation. You have to, because if you don’t, everybody’s different and you can’t…so you have to take a look and see, however you’re dividing up the population, it might be by class, it might be by gender, it might be by race, it might be by whatever. You have to abstract the individual out of it and be talking in some sense about social abstractions.
You can’t write fiction like that. Stories are about individual people, and they have to seem like people to readers. They have to seem real. And if they’re just clanking around like stereotypes, it doesn’t work. People don’t like that. For one thing, they get irritated if you happen to be stamping all over their particular viewpoint, but leaving that aside, it’s just not attractive. So that means you have to find individual characters, and once you start doing that they tend to get quirky. They tend to…well, let me not turn this into a lecture, but the upshot of it is this: fiction is lousy for educating anybody about politics, but what it is very good at is imparting broad moral and ethical values. There are certain values I have that are reflected, one or another, in almost any book I write. And…obviously the first thing you have to do is entertain people, because that’s why they’re reading a book, they want to be entertained, but I try to do more than that. And it varies from one book to the next, what I’m particularly trying to portray. But I’m trying to portray something…every good writer I know is doing that, to one extent or another and to one degree of consciousness or another. I know very few writers, that includes genre writers who are just…although they’ll often say they’re just trying to write a good read, there’s almost always something more going on.
Well, and what are you working on now?
Right now I am starting…well, I had several little small projects I had to get finished, but the novel I’m working on now is…I’ve written several novels with David Weber in his Honor Harrington universe, which is very popular, and we’ve done three novels together in that universe and I am starting the fourth, which is a sequel to the third. And I’ve gotten into it pretty well. It’s a complex novel and it’s somewhat difficult to write for reasons I don’t want to go into because they’d take too long, but I think everything is pretty well squared away. It’ll be a long book.
And if people…and you did mention there’s a Ring of Firebook that is just out?
I just published one…well, I didn’t, Baen Books did…it came out in April, last month. It’s called 1637: The Polish Maelstrom, and…that’s not a collaborative novel, I wrote that on my own…and it’s one of what I call the mainline novels, and what I mean by that is it’s a big sprawling complex series, but there is a spinal cord to it, and there are seven novels that are in that, what I call the main line, and five out of the seven I wrote on my own, two of them I did with David Weber. And this one is the seventh and most recent of them, and it’s a direct sequel to the book that preceded it, which is 1636: The Ottoman Onslaught. That just came out. The next one that’s coming out is coming out in September, and it’s a book I wrote with Iver Cooper, it’s called 1636: The China Venture. And this will be the first time the series goes into China. And Iver has written a number of things, he wanted to collaborate on a novel with me, we’ve been working on it for quite a while. He has done…I know quite a bit of Chinese history, but Iver has done an enormous amount of research on it over the past few years. So that’s coming out in September.
Then, in November…this is a book…my name is not on it because I didn’t have anything to do with the writing, although I did help him work out some of the things… but it’s by David Carrico. It’s called The Flight of the Nightingale and it’s got two short novels in it, and that’s coming out in November. And then…well, there’ll be more stuff coming out, but I don’t know exactly when they’ll be coming out. Chuck Gannon and I have just started to work…will be just starting to work on the sequel to 1636: Commander Cantrell in the West Indies, and the new book will be called 1637: No Peace Be on the Line. And that’s a book, a naval…maritime adventures in the Caribbean, let’s put it that way.
So, lots to come.
Oh yeah, oh yeah.
Well, thank you so much for being on The Worldshapers. I should just mention where people can find you online.
Yeah, there’s a number of different places. I have my own website, which you can find at www.ericflint.net. Somebody had bought .com and wanted me to pay him $2,000. I said, “Screw you.” Actually, I do post there, but I tend not to post on a regular basis. I’m more active on Facebook, so you can find me on Facebook. There’s also a 1632fan site, it’s www.1632.org. There’s the magazine’s web site, which is grantvillegazette.com, and, for the past three four years now, we’ve launched our own publishing house, so that’s called Ring of Fire press and that’s got its own website. And Baen’s Bar, I drop by there pretty often. So…that’s Baen Books’ website, where they have a big discussion area called Baen’s Bar. So, I’m not hard to find online.
I guess not. Well, thank you so much for being on The Worldshapers. I’ve enjoyed the conversation.
I have, too. Thank you very much.