Episode 21: Larry Correia

An hour-long conversation with Larry Correia, the New York Times-bestselling, award-winning author of the Monster Hunter International series, the Grimnoir Chronicles trilogy, the Saga of the Forgotten Warrior epic fantasy series, and the Dead Six thrillers, all from Baen Books. He also writes novels set in the Warmachine game universe.

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www.monsterhunternation.com

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Larry Correia

Larry Correia’s Amazon Page

The Introduction

Larry Correia

LarryCorreia is the New York Times-bestselling, award-winning author of the Monster Hunter International series, the Grimnoir Chroniclestrilogy, the Saga of the Forgotten Warrior epic fantasy series, and the Dead Six thrillers, all from Baen Books. He also writes novels set in the Warmachine game universe.

A former accountant, military contractor, firearms instructor, and machine-gun dealer, Larry has been a full-time author for several years. His first novel, Monster Hunter International,was originally self-published. He’s now published in seven countries.

Larry lives in northern Utah with his very patient wife and four children.

The (Lightly Edited) Transcript

So, Larry, welcome to The Worldshapers.

Thanks for having me on.

Now we met very, very, very briefly, at DragonCon this year…last year, I guess, which was my very first DragonCon. I found it a bit overwhelming. There’s a lot of people there.

Oh, yeah. It’s a giant nerd Mardi Gras.

I was at your panel on–I made a point of sitting in the front row, actually, at the panel on monsters that you were on, which was a very good panel, and then introduced myself and asked if you’d be interested being on the podcast and you said yes, and we’ve finally gotten around to it. So, very glad to have you. I’ve enjoyed your books and am looking forward to talking to you about them. We’re gonna talk specifically about The Saga of the Forgotten Warrior, your fantasy…I guess it’s going to be a trilogy? Or longer?

Well, I originally pitched it as a trilogy to Toni Weisskopf, my publisher, and she’s…you know, Toni knows this stuff very well, and I give her a kind of a plot outline for the trilogy. And she came back and she gave me a book deal for three books, and then she said, “You know, there’s no way in the world you’re going to fit this into three books, right?” Yeah. So, originally it was a trilogy but there’s probably going to be more than that. I’m working on the fourth one right now.

We’ll call it a series, then. The first book of that was Son of the Black Sword, and so we’ll talk about how that all came about a little later. But to start with, I like to talk with my guests about how they got started doing this crazy thing that they did. So, I guess, take us back into the mists of time. First of all, where did you grow up, and how did you first get interested in in science fiction and fantasy as a reader, and then as a writer. How did that all come about? You have a rather unusual path to publication.

Oh, yeah. Well I’m originally from El Nido, California, which is a little tiny town in Merced County, which is the San Joaquin Valley. It’s the part of California that’s more cows than people. That’s where I’m from. I grew up on a farm in the middle of nowhere, and we were really poor, but there was a little, tiny library, a little, tiny county library. And I was a nerdy kid. I loved reading books and I read every single thing they had there–and then I discovered interlibrary loans. I was always that awkward kid that read books on the bus and read books during recess and I just always loved to read.

I know that kid. I was that kid.

I think that’s most of us. I grew up…it was a pretty rough place, we were, you know, poor dairy farmers, a lot of hard manual labor. It was a lot of of fun, but I read to escape, and I discovered science fiction and fantasy pretty early on. I mean, I started out with Westerns, because…you have to understand, my dad didn’t read. He didn’t appreciate books, he didn’t like books, he thought books were kind of a sissy activity, that was kind of how I was raised. But I got a pass on Westerns, and so I actually started out with Louis L’Amour. My dad thought Westerns were manly and cool and tough, so Westerns were okay. But then, actually, I think one of the first fantasy books I ever came across was Sword of Shannara by Terry Brooks, an old classic, and discovered that first. That was my gateway drug to fantasy.

That’s interesting, starting with Sword of Shannara. Of course, it was very much in the mold of Tolkien. But you came to it first instead of Tolkien.

Yeah. Well, actually, I came to Tolkien later. I went backwards on that. I mean, I got to meet Terry Brooks in person for the first time five or six years ago, and I think I really nerded out pretty hard. No, I kind of got into that and…I read a lot of different things, various genres. I love reading different genres. I pretty much wound up as a fantasy guy just because that was what I was good at and that’s what I enjoyed writing the most, but I’m kind of a multi-genre kind of guy myself, I write in a bunch of different genres, too. But fantasy is my primary thing and I love it.

So, when did you actually start putting your own words on paper and telling your own stories?

Oh, I was really young, actually. I would get like books with paper and I would illustrate the stories, too. And my mom actually saved some of these, so after I die my wife will probably be able to sell these on eBay to my fans for a lot of money. You know, there’s like, really goofy little adventure stories with cartoons and stuff.

My first attempt at seriously writing, I was in college, and at the time I was on a Tom Clancy kick. I had been reading a ton of techno-thrillers, and I decided…the very first book I ever tried to write was actually a thriller. And it was terrible. It just wasn’t very good. You know, the first thing you try to write has training wheels, and it was terrible. I didn’t know what I was doing. And that got shelved.

And then I graduated college and for about ten years I went off and had a career and a family and worked hard and didn’t really have time for it. And then I decided to give it a shot again in the mid 2000s. I started…at the time, the kick I was on was horror movies, and I’m also a gun nut, I was a firearms instructor, and so I took two things I knew a lot about, horror movies and gun nuttery, and I stuck them together, and that’s where my Monster Hunter series came from. And that book actually did really super well. It’s still going well. So, that’s kind of how I started writing, so I guess I’ve always kind of been a writer, but I took, like, a decade off to be a grown-up.

Did you do anything in the way of, you know, writers’ groups or classes or anything in all that time? I know you certainly didn’t study it at university, you became an accountant, eventually.

Yeah, I got my degree in accounting and did a bunch of things like that. I was an auditor and then I was in the gun business for a long time, then I was a military-contractor accountant, and I did that for many years. But the thing is, I never did any writing-related stuff other than business writing. I wrote nonfiction, because I actually wrote technical articles and review articles for gun magazines, and I wrote articles about, you know, I guess the best way to put this for a non-gun-nut audience is tactical stuff, because I was an instructor. And so, I wrote things like that, but I never wrote any fiction during that time. I never had any training. I took the minimal number of English classes required to graduate. I was never in any writers’ groups or anything of that nature. I just read a lot. So, I kind of learned by doing, I guess.

That, in your words, “very bad thriller” that you wrote, did you share it with anybody, you know, at least get a hint that perhaps you could you could tell a story that people were interested in?

A handful of people, a handful of friends. And actually, people liked it and they really enjoyed it and they were kind of surprised that I was literate, you know, being a big dumb knuckle-dragging farm kid, they were like, “Wow, this is actually really good.” But it just wasn’t up to snuff. It’s funny, though, because there’s no such thing as wasted writing. You know, we always save…even our worst stuff has little nuggets in it…so later on, when I was doing the Dead Six series with Mike Kupari, I stole pretty much every line of dialogue, every cool character, everything that was neat or good from that first book I stole and later on, it wound up in other books. But, you know, it was good practice. But, no, I never had a sort of organized group or anything, just, I would hand it out to friends and said, “Hey! Check this out.” But that’s about it.

I wrote novels in high school that I showed to my friends, and they, you know, they said, “This is really good,” and of course, like you, I look back at those now and I think, “No, actually they weren’t.” But at least I learned that, you know, people were interested in reading what I wrote, and that kind of was what drove me into into doing it.

You were talking about writing nonfiction. I was a journalist myself, so I wrote, you know, thousands and thousands and thousands of words of nonfiction. I would say probably–and let’s see if you would agree with me–that even though you’re not writing fiction, the mere act of putting that many words together, even if it’s for gun magazines or whatever it is, still contributes to your writing improving. Would you say that’s fair?

Oh, I would say that’s totally fair. Like I said, there’s no such thing as wasted writing. Honestly, I think that anything that you’re doing that you’re having to put together a coherent narrative is good training. It’s just good practice, just stringing words together, wordsmithing, it’s all useful. Well, I mean, maybe not Twitter.

The great Twitter novel has yet to be written.

Yeah, I don’t know if I want to read it.

Now, Monster Hunter International…it wasn’t published by a traditional publisher to begin with. was it?

No, it was not. I’m with Baen now, and I’ve been with them for about ten years…yeah, ten years this year. But originally, it was self-published, because what happened is, I wrote this book, and best way to describe is, think, you know, X Files meets The Expendables, okay? So, it’s all the tropes of the various horror movies, and, you know, the Lovecraft mythos, because I love Lovecraft, all that’s in there, only, the people…it’s not a horror story, it’s an adventure story, because the characters are not, you know, typical horror-movie characters who scream and run and get eaten. They’re my people. And so, there are a bunch of gun nuts, and military contractors, and combat vets, and all those people, and they dealt with all these monster problems like my people would. (You know, the running joke as if you made a horror movie about the average gun nut it’d be a really short horror movie.)

So, I did this, and I tried to sell it in the traditional manner. Back in those days.. this predates the e-book revolution and Kindle and all that, so I tried to sell it the traditional way, by getting it to agents and then sending it to slush piles, and I collected…it was just over a hundred rejections. I had a shoebox full of rejections, and basically I had a lot of people, you know, agents, well-known agents, come back and say, “Hey, this is really good, this is really fun, but I don’t think it’s sellable. I don’t see a market for this.” And, well, I was a business man, I was a fairly successful businessman at this point, I understood marketing, I understood market, I understood audiences. And I’m looking at this, and I’m thinking, “Well, I think there is a market for this. It might not be a market that, you know, regular Manhattan publishing understands, but I think there’s sufficient number of people out here that I can sell this book.” And so…at that point, self-publishing was kind of more of a vanity thing. You know, you didn’t have e-books, you had $25 print-on-demand paperbacks, which…that’s a pretty hard sell. But I had an audience already from some of my other work, and I was a moderator on a couple of big Internet gun forums. And so, I actually did some online fiction for free, with another guy, named Mike Kupari, who I later on wrote novels with, a great guy, a very good writer, and we put out, you know, free online fiction, and people read it and were like, “Wow, this guy can actually write fiction, this is pretty good.” And so then I launched my $25 print-on-demand paperback, and it actually did really, extremely well, which in those days of self-publishing was like, if you sold 3,000 to 5,000 copies of a print-on-demand paperback, that was huge. It was nothing like it is today, very different. But it was actually a very big success and…Uncle Hugo’s is this big independent bookstore in Minneapolis, Minnesota, great bookstore, great guys. And one of their employees read this, one of their former employees read this, and then passed it on to Uncle Hugo, or Don Blyly of Uncle Hugo’s, who wound up printing out the Word document file on his printer and read the whole thing that night, and then he called Toni Weisskopf, who was the publisher at Baen, and said, “You guys need to buy this book ’cause I could sell the heck out of it.” And that got Toni Weisskopf to take a look at it, and she thought it was great, and she…at that point my self-published book was doing pretty good…so she contacted me and made me an offer to buy it.

And this is where it really is cool. I had to discontinue the self-published version. I signed my contract, but, you know, the way publishing schedules work, it wasn’t going to come out for almost a year and a half. So what happened is, for a year and a half, everybody talked about this great self-published book that they really, really liked to their friends, and their friends couldn’t buy it, because there were no more. And nothing makes somebody want something more than not being able to have it. So, for a year and a half everybody wanted to get their hands on this book, and no one could. So then when the actual Baen version came out, it was just mass-market paperback, that was before I was in hardcover, our little print run sold out in like the first twenty-four hours, it just exploded. And so she did another print run, and it went nuts and it was just instantaneously sold out. And so she did a third print run, and it went nuts, too.

At that point it kind of slowed off, but, you know, she’d given me a contract for a few more books at that point. So, yeah, so that’s how my career got started, and I’ve been doing this for about ten years now. That was back in 2009, is when the Baen version came out, and I’m at twenty-one novels now, I think, and a couple of collections of short stories, and a bunch of novellas and miscellaneous projects. So, it’s been really busy.

It’s safe to say this is what you do full time now?

Oh, yeah, yeah, I quit my accounting job about…I want to say five or six years ago…and I’ve been a full-time writer ever since.

Well, I have to say…I had run across mentions of Monster Hunter international…I think I was actually in the hospital for some reason and I needed stuff to read, and I may have gotten it through…was it in the Baen Free Library? That may have been where I got the first book.

Yeah, once we, I think, three or four books in the series, they added the first one to the Free Library. So, yes, for your listeners, you can get my first book for free, it’s available on baen.com, or you can download a free version for your Kindle on Amazon.

But be warned that that was like a, you know, one hit and then you’re hooked, at least in my case, because then I tore through all the others and I’ve been keeping up with it ever since. Good job, Baen.

That’s why we do it. Yeah, it’s the…we follow the crack-dealer method of product distribution where the first hit is free. The rest of the books cost you.

It’s interesting. One of the things that I often get asked and, you know, I’ve asked…you’re my, what, eighteenth or twentieth interview or something in this podcast?… people always ask, well, “How do you break in, or how did you get your first book published?”, and the thing is, it’s different for absolutely everybody. So, you know, your story is fascinating, but it’s probably not going to help anybody else, because it can’t, it’s not going to happen that way to anybody else.

Well, and technology changes so rapidly now. So even though this was only ten years ago for me, the entire method of how I got into it doesn’t even exist anymore really.

Yeah.

And now self publishing has become so easy the challenge there is, I mean, yeah, anybody can self-publish and it’s a snap, but you have to compete with the hundred thousand other people that also self-published that month. It’s super-competitive, very different than when I did it.

I did want to ask–and the reason is that my first book with DAW had been rejected by them and then through a roundabout way got accepted by them as a paperback–had Baen–you said you had a hundred rejections. Had Baen rejected it once before it came back to them?

This is kind of funny. So actually what happened with them–’cause most of my rejections were agents, and I also submitted directly to every publisher that would let you–Baen does a slush pile. So back in those days you would just mail the manuscript to Baen, and they would have, like, a big pile in their office of typed manuscripts, and they would go through and read them, they would have their slush readers. So, I did actually mail one, I did submit one to the slush pile. However, it disappeared or never arrived, because what happened was years later they were going through their own slush pile trying to find the original Monster Hunter I mailed them, just so they could just have it. You know, it’s an international bestseller for them now, we’ve got millions of books in print, and so they were trying to find this original photocopied manuscript that I had mailed them and they could never find it. And so I don’t know. It got lost at the post office? So, no, I didn’t ever actually get rejected by Baen.

Someday it’ll turn up.

Yeah, I figure it’ll show up on eBay when some postal employee finds it in, you know, the floor boards of his car. So that was just, that was a weird one right there, but, no, I got rejected a lot. But, you know, I always tell aspiring writers, you know, “You’re going to get rejected. There’s nothing wrong with that. Just keep going.” You know, a hundred sounds like a lot, but I’m not even near the top. I want to say Laurell K. Hamilton got rejected, like, two hundred and fifty times, and that was for her Anita Blake stuff, which has gone on to sell, like, 30 million copies. But back then, that was before paranormal romance was really a thing. She’s kind of like the godmother of that genre. And so publishers just didn’t know what to do with it. People were going, “I really don’t know how I’d sell this, I don’t know what genre is this.” Urban fantasy was a weird oddball thing back then and paranormal romance didn’t even exist, so they didn’t know. And now she is super, super successful. You never know. You just gotta keep throwing stuff out there to see what’s next.

Everybody hopes that that kind of a story will be theirs and for most people it isn’t. But the possibility is always there. So that’s what keeps a lot of writers going, I think.

There’s a lot of people, we show up and it’s like, “Wow, it’s like you’re an overnight success!” Yeah, it only took five years.

Well, in my case it was, before I had anything published fiction-wise, I’d been trying to sell for fifteen years, I think, or something like that. My first book was Using Microsoft Publisher for Windows 95, and my second book was Using Microsoft Publisher for Windows 97. So it was like a series, you know, but not quite what I was interested in.

Yeah. I mean, we all come at this from different ways. There’s no one right answer. And it’s funny, because I go to these panels, and people always ask me, like, “What is the trick? What is the secret?” And I’m like, “Dude, I wish I knew, because I would totally like, you know, sell that.”

Yeah, if I’d known, I wouldn’t have taken so long to get to where I am. Well, we’re going to talk about the Saga of the Forgotten Warrior series (not trilogy!). So, we’ll start with talking…obviously, we’ll talk about the first book, because it’s hard to talk about the second book if you haven’t read the first book, which I have, by the way. The first book is called Son of the Black Sword, and maybe I’ll let you give a synopsis, because otherwise I’m liable to spoil something that shouldn’t be spoiled.

No problem. Okay, so Son of the Black Sword is an epic fantasy. It’s set in a world that’s kind of loosely based on India. I won’t say too much about the setting. It’s a world with really brutal caste systems, but it’s not a religious society: in fact, religion has been banned for a very long time. Instead, they have an all-encompassing Law, and everybody in this society has a place. The story’s about…the main character is a fellow named Ashok Vadal, who is a magical super-warrior figure. Think of this guy as kind of a roving, magical Judge Dredd, okay? This guy is the ultimate law enforcer in a land where the law is basically God. But the story is about him and what happens to him, because it turns out he is not who he thinks he is. And that’s…

The problem with epic fantasies is you can’t over-describe them without giving away the plot, but it’s really awesome. It came out super good. I love it. It’s done really well, been very popular. The story is…basically, I describe this guy as, he’s kind of a cross between The Punisher and George Washington. And it’s the story of how he basically turns from this unflinching role enforcer to…the saga’s him becoming a human being. But these are people that have not had religion for a long time, it’s been banned, and the old gods are kind of meddling in the affairs of man once again. This is a world where the seas, where the oceans, are basically hell. And so the culture is developed up around that. No, you don’t want to be by the ocean. The ocean is bad news in this setting.

It’s a fun series. The first one is Son of the Black Sword, which came out a couple of years ago and did really well. It’s my first foray into epic fantasy, based kind of…I’m a huge Robert E. Howard fan, so I kind of think of it as sword and sorcery, but it’s epic fantasy. The sequel is called House of Assassins, and that actually comes out right now. I think by the time this airs I’ll be on book tour for it. So that’s number two. And then number three is called Destroyer of Worlds, and I’m working on that right now. That’s actually what I was typing on when you called, or when you e-mailed me. So, yeah, the series is a lot of fun. I’ve really enjoyed it. (It’s a very dark setting, so when I say fun, to put this in perspective, I’m a writer. We have…our ideas of fun are a little different.

Yeah. You know, I destroy planets for fun.

Yeah, exactly. No, this is…I get to tackle a bunch of issues and have a lot of fun with it, but I don’t…I’m not a heavy-handed message-fiction kind of guy. I’m an action-adventure guy. If a theme sneaks in there it’s usually an accident, and don’t worry, I always put the action scenes first.

So what was the genesis of this? The seed from which this is grew?

You know, this is really interesting, because this is the funny thing about how how ideas works. Many years ago, I was a panelist, when I was a new writer, I was a brand-new writer, I was on a panel at a convention called LTUE, which is Life, the Universe, and Everything, in Provo, Utah. Back then it was held on the BYU college campus. And I was the newbie writer, and I was on a panel with Lee Modesitt Jr., Brandon Sanderson, and Dave Wolverton, who, as you know, are three big-deal, big-time, very successful fantasy writers.

So, I’m on this panel and somebody, some college student in the audience, had a question about…something. I can’t remember what the question was, and I had a really good answer for it. And so, I started to answer the question, and this college student cuts me off. He goes, “No, no, no, no, you’re just an urban-fantasy writer. I want to hear from the epic-fantasy writers.” And I was like, “You little bastard.” And I sat there and I was kind of like torqued, right. Like I said, I’d only been a writer for a couple of years. And so, as soon as the panel was over I snagged Brandon Sanderson, and I was like, “Hey, Brandon, what makes something an epic fantasy?” And so, he’s like, “Well, you know, it’s gotta have a lot of characters and a big giant plot and usually world-spanning events and a lot of history and worldbuilding and that kind of stuff.”

I went, “Okay, okay, cool, cool.” And so then I hooked up with Mike Kupari, whom I’ve mentioned before, ’cause Mike’s one of my best friends, and my co-author on my thriller series, and we’re driving home, and we start brainstorming, and actually the epic fantasy that I came up with turned out to be Hard Magic, the Grimnoir Chronicles, which is my Hard Magic series. So, my first attempt epic fantasy turned into 1930s alternate-history superheroes.

And I’d actually call one science fiction. It really has a science-fiction undercurrent.

Exactly. But that was the genesis of my foray into epic fantasy. But some of the ideas I came up with during this process, brainstorming, a lot of this turned into a series, which is actually a very successful one, and critically acclaimed, and it’s won the Audie for best audio book two out of the three novels. It was like number sixteen on Audible’s top 100 audio books of all time, so it’s been really good. But the thing is, this was my first foray into epic fantasy and it turned out not epic fantasy at all.

Then the next year, actually when I was working on Monster Hunter Alpha, I still at this point really wanted to tackle an epic fantasy, just ’cause I read ’em, I enjoyed ’em, and I hadn’t written one–because, like I said, my attempt turned out to be alternate-history superheroes. So, I was like, “I’m going to write an epic fantasy.” So, while I was working on Monster Hunter Alpha…I always listen to music as I write, and I usually listen to movie soundtracks, because they’re instrumental, there’s no words to mess with me, just music. And so, I hadn’t even seen the movie yet, but I had downloaded the soundtrack for Inception, because I love Hans Zimmer, right? Hans Zimmer’s awesome. So while I was listening to Inception, there’s a song called “Waiting for a Train,” and it’s like this eight-minute-long or nine-minute-long song, that starts really, really slow, and then builds up to this just massive crescendo. And before the crescendo begins, there’s actually this woman, there are some lyrics, and this woman comes on and sings one line in French, and having not seen the movie, I had no context at all, right? But I was so struck by this song that I stopped writing the novel that I was working on, and I actually wound up writing this little two-thousand-word short scene that was just a fantasy setting set specifically to that song. Once again, I hadn’t seen the movie, so I had no context of what it actually looked like, right? Or what it was actually for. (Boy, I was off! I was nowhere near what the movie Inception was like. )

So, I wrote that one little scene, and if you’ve read Son of the Black Sword, it’s actually the scene where Ashok is returning home, after he’s learned the truth of his existence, to confront his aunt. Basically, it turned into the dinner-party scene, the dinner-party knife-fight scene. That was actually the genesis of Son of the Black Sword, I was just inspired to write this one scene to correspond with this song. And then when I finished up this, I started brainstorming it out and really came up with a big plot.

The Indian setting was actually kind of interesting, because…I’m not a crusader by any means, in fact that stuff annoys the heck out of me, and this was before the whole big push for non-Western settings because you’re supposed to, or any of that stuff–I just thought it sounded interesting. I thought it sounded fun. Plus, I watch a lot of Bollywood movies, and so I was just looking at this like, you know, that would actually be really kind of a cool setting. And plus, I’d already been thinking through with that initial scene I did, where I’d already, just off that, was using a setting with caste systems. So, at that point it made perfect sense to just kind of borrow heavily from Indian history and mythology for the setting. And so it just kind of expanded out from there, and I actually wound up expanding it out and borrowing from…well, I won’t get into it, but, like, some other elements from Southeast Asia and even East Africa. So I got to throw in a bunch of stuff in there from that for inspiration. But then it kind of morphed into its own thing. So that’s where that came from.

You know, it would be cool to have a Bollywood movie version of Son of the Black Sword. Don’t you think you could have one?

Oh, my gosh. Well, in my head canon as I’m writing this, I always like to have, like, actors or people I actually know playing various characters. That way as I write them it helps me keep them consistent. So, actually, Kumar, in my head, is Ashok. Ashok looks like the actor Kumar. He’s been in a lot of movies. You’ve probably seen him. So, if they would like to make a movie that’d be great. They’d have to add some musical numbers.

I was going to say the musical numbers would be interesting.

My daughter, my oldest daughter, who’s a writer also, she’s watched a lot of these movies with me, and she’s like, at one point, I was saying that would be funny, if they made a Bollywood version of Son of the Black Sword, and my daughter goes, “Nah, Ashok don’t dance.” This is not a man who would dance, he’s not a man given to frivoloity.

She definitely has a point. So, you’ve talked a little bit about bringing all that, all those various things, together–was there a lot of research involved at this point, then, or did that come along as you develop the plot?

Oh, I kind of–that goes in spurts because, you know, there’s always the ever-widening Wiki spiral that all authors, we tend to do as we’re researching. No, I did the basic plot outline first. I’m an outliner.

That was my next question.

Oh, yeah, yeah, I’m definitely an outliner, so…plus I learned my lesson on my earlier books: I would outline, but I didn’t necessarily keep a series bible. Which, when you’re only one or two or three books into a series, that’s not a big deal. But on Monster Hunter I’m, you know, seven books in, with three spinoffs and a short-story collection. So, all of a sudden, this universe has gotten so big. I didn’t originally have a universe guide for it, and so I’m trying to remember, like, “Whoa, did I say where this person is from? Is this guy left-handed? Did I ever say what color this person’s eyes are?” All that little stuff…

It starts to pile up.

Yeah, it does, it piles up. So, what I did from the beginning of this series is, I had my outline, but then, I also have a separate world guide. Especially when you’re writing urban fantasy, a lot of stuff you don’t need a world guide, because it’s just, you’re just taking our existing world and inserting stuff into it. So, I don’t need to, like, have a description of the city of Chicago. It’s just Chicago, right? But for this, when you make up every single city, every single place, every single family, every single culture, cultural thing, you have to have some constant reference, down to like, you know, the calendar: how you know what are the names of the days of the week and the days of the month and what are the names of the month, of the year, and how does the calendar work, and all this stuff. And so, I try not to worry too much about all that stuff up front because it messes with you and it slows you down. So, I usually outline the story first. When I say outline, I’m talking maybe four or five pages, maybe eight or ten pages tops for a book. I’m not a super-religious outliner, it’s a very loose outline, and then I’ll jump in, I’ll start writing, and then when I come to something that I need to stop and research, if I’m on a roll I’ll just mark it–for me, my mark is always XXX, because then I go back and I control-F and search for XXX, every instance of XXX, that tells me this is something I need to figure out or research.

I use that, too, because it never shows up by accident.

Exactly. Yeah. You’re never gonna find that on the middle of a word by accident…well, I guess if you’re writing porn, I mean, that could happen. Luckily that’s not an issue.

So, if I’m not on a roll and I come up with something then I’ll stop and I’ll go and I’ll do research on it and figure out how I’m going to do it. Then I’ll add that to my world guide and I’ll just go ahead and write. But if I’m on a roll and I don’t want to stop to go figure out how calendars work or how does, you know, agriculture in the northern provinces work, I’m going to put XXX and I’m going to keep plowing ahead, and then later on, when I’m stuck or bored or whatever where I’m at, I’ll flip back and that’s when I’ll do my research. I guess I do a minimal amount of research upfront for the outlining and for the opening, and then I just go.

And, of course, research has become much more easy than it was pre-Internet and pre-Google and all these wonderful tools we have now.

Oh my gosh, yeah. Even in the ten years that I’ve been doing this it’s gotten way easier. And, you know, ten years ago we did have the internet. I mean, it wasn’t that long I’ve been doing this. But, yeah, it’s funny. It’s interesting, too. I find that research, especially for fantasy novels, is super-helpful, because it just opens up so many other corridors in your brain that you otherwise hadn’t thought of.

My example of that was, I have a book under a pseudonym, E.C. Blake, I wrote a trilogy called The Masks of Aygrima, and part of it is set in a mine, and I needed some way for them to get up and down in the mine, and I thought, “Well, ladders are boring,” and then I did some research and found this thing called a “man-engine,” which is driven by water and reciprocating beams and two sets of platforms go up and down and as they go up and down they meet momentarily and you can step from one platform to the next and get carried down. And so that made its way in, and it made the whole scene more interesting and gave me all sorts of things that I could do. So, yeah, that sort of thing happens all the time.

Yeah, I love that stuff.

Now, what does your actual writing process look like. Do you write in longhand. for example?

Oh, gosh, no. My handwriting is awful.

I have met, I have talked to authors who do, which blows my mind. But some people still do it.

Yeah, Marko Kloos writes everything originally with just a nice ink pen and a Moleskine notebook. I’m like, “I don’t know how he does that.” No, I type. I was actually mentioning to you earlier I didn’t know if this program we’re using right now would work because I have an eight-year-old laptop that I’ve just never bothered to replace.

As long as the hamsters run fast enough it’ll be fine.

Well, I mean, all I really use my computer for it is Wikipedia, Facebook, and typing. So, no, I work in a pretty much normal…ever since I quit my day job I work in a normal workday, so…I’m not a morning person, I don’t try to force myself to work early in the morning, because my brain doesn’t work that way. So, about eight-thirty or nine o’clock, I will usually drift into my office. I work from home, I have a nice office. I’ll go in here and I’ll usually write until about lunchtime, and then I’ll take a break for a little while to eat lunch, unless I’m on a roll, then I eat while I type. Then I work until, usually, about three-thirty or four o’clock in the afternoon–by then my imagination is starting to peter off. Unless, again, I’m on a roll, because, you know, if you’re having one of those days where you’re on a roll, you just keep working. Then I’ll work until nine o’clock, ten o’clock at night.

If I have a deadline I work however long I need to work. I did a sixteen-hour day last week, or about two weeks ago. I had to do the short story “The Testimony of the Traitor Ratul,” and I had forgotten about that. And so I was up on my deadline and I had to do a 5,000-word short story that day. And so I did, and I was working until like, I want to say eight o’clock at night, and the story was almost done, it was pretty good. Then I went to bed and I lay there and it was about eleven-thirty or midnight, I was still awake ’cause I was so in the zone, and so I had to get back up and finish the story, writing till about two-thirty in the morning, which is always scary, ’cause I have a rule of thumb, you don’t write after midnight, because what happens is then you check it the next day and it’s crap. But this time I checked it and it was like, it was actually really good. I was like, “Okay, perfect!”

But normally, the vast majority of the time, I’m a nine-to-five kind of writer. I actually take weekends off now, which is amazing, because for the first half of my writing career I had a day job, and it wasn’t just a wimpy day job, it was a high-level management and finance-management kind of job with a, I was the finance guy for a military-contracting company. It was a high-pressure job with a lot of hours, a lot of brain, a lot of hard work, a lot of math, and so I would do that all day and I’d come home and I would write for a couple of hours at night and then I would usually do most of my writing on the weekends. So all day Saturday and Sunday would just be these marathon writing days.

It’s kind of funny, because back then I had this goal that I would try to write 10,000 words a week which, you know, that’s a good goal. I didn’t always get it, but I would try. Which is funny because my goal still today, now that I do this full-time, is still 10,000 words a week. The difference is, life is much nicer now. And also, the big thing is, that old stuff that I would cram in, 10,000 words a week here and there, writing on my lunch hour, writing late at night, writing all day Saturday, that stuff, it was funny because I would write all that and then I would have to edit it way more. I’d spend a lot more hours editing it because it was just wasn’t as good. Now I’ll try to write 10,000 words in a week and I just do my nine to five, but then when I go to edit, my editing passes are actually way cleaner, and I don’t spend nearly as many hours editing as I used to. That’s good, because writing is fun, editing is work.

That’s actually the next question. What does your revision process look like, once you have that draft. You’ve mentioned that you might mark things with XXX that you have to go back and flesh out later. So, what does your revising process look like?

Usually what I do is…so, I’ll finish the first draft, and I’m one of those guys that if I’m stuck on a scene I’ll just mark it and move to the next scene. I don’t like killing momentum because I’ve gotten to a hard part. A lot of people, you know, they’ll freeze up and they’ll get stuck on a scene forever, and I think that’s just the kiss of death. I mean skip that, go to the next one you want to do. So, when I get to the end of the book I have to go back and fill in those scenes that I skipped, or parts I skipped, or sometimes it’s just like, I skipped a paragraph because I didn’t feel like explaining how something works. So, I go back and I fill all this stuff in and usually it’s a lot easier when you do that, because by then you’ve written past that scene, so you know absolutely what must happen. That’s why these guys who write longhand on paper, I’m like, “I stand in awe,” because that is not how my brain works.

And then I go through, I’ll clean all that stuff up. I’ll usually do a clean pass, where I’ll read it from beginning to end, I’ll usually do that once or twice. And then–this is very important–I have a group of alpha readers now. These are people that I trust, these are various authors and friends of mine that I’ve gotten over the years, and also a lot of times technical experts, like…so, in this case, I’m writing a book with a lot of sword fighting. I’m not a sword-fighting expert. I’m a gun expert, but I’m not a sword guy. And so I have a couple of people that are, modern or Western martial artists or Eastern martial artists or professional sword people, and I send it to them.

Then, I give it about a month. During that month, I will not look at this manuscript at all. I will walk away from it. Because what happens is, I need to be, I need to get some distance between me and the manuscript. Because if I keep reading a book, I’m too close to it. There’s stuff that’s in my head that’s not necessarily on the page, but it’s in my head, so I don’t catch it. So during that month I’ll go work on another book. I will go outline other projects. That’s usually…I’ve written, like, fifty short stories now, and I think most of my short stories have been written between novels like this. So during that month, I will go to all sorts other stuff.

Then I will go back, I will read everything the alpha readers had to say about it, and then I will start again, and I will read it from beginning to end. And now I have some distance between me and the book. I will catch errors, I will catch mistakes, I’m, like, little things, I’ll improve them, just because a lot of that stuff, when you’re too close to a manuscript, you can’t see this stuff. You’ve got to get some distance, then you have a clean eye. And then after that it goes to my real editors. I’ve had several different editors with Baen, it just depends on which book in which series, and they’ve all been awesome. And I just take their feedback and incorporate it.

Who’s the editor on the these books? The Saga of the Forgotten Warrior books.

This is interesting, because actually, these have been popular, so I’ve had multiple…multiple people have joined in on this. So Toni is our overall publisher, but Jim Minz and also Tony Daniel have been my editors on the series.

What kind of notes do you get back from them?

Actually, apparently I’m one of their favorites because I’m easy to edit. I’m not one of those sensitive artist types, so I’m pretty much open to anything, and usually they’ll tag stuff and they’ll be like, “Hey, Larry look at this.” A lot of times they’ll just let me solve it. They know I’m pretty good at solving a problem, so if, like, a scene doesn’t work, they’ll just put a note that, “Hey, I don’t understand what’s going on here,” and they’ll just kick it back to me and I’ll go over it. Very seldom have I ever had to make any major changes in edits. But just give you an idea, in House of Assassins, the one that’s coming out right now, the sequel to Son of the Black Sword, the biggest edit in there was actually the chapter that I open with was originally Chapter Three. I opened with…Chapter 2 was originally the opening of the thing. And Jim read this, and he loved the book, but he was just like, “You know, I just think this other chapter that you have later on, I think is just a stronger opening. I think if you opened with this chapter instead of this one it would be stronger.” Now, I’d have to change stuff around in the chronology to do that, but I looked at it. The key to being edited is, you’ve got to be humble and don’t be a prideful jerk about, because, you know, your editors are smart people, too. And I looked at this and Jim was right. It was spot on. He was very correct, that that other chapter made for a much cooler, more interesting opening. You know, so stuff like that.

My favorite edit that I ever got was actually one of my Monster Hunter books, and it’s from Toni Weisskopf. Toni is a hilarious edtior. So this scene, for whatever reason, just didn’t work. And so the note on the scene says, the note at the top of the page literally says, “This scene sucks. Make it not suck.” And I looked at it, and she was right. And so I did. You know, she didn’t need to tell me how to fix it. She just said this doesn’t work. Make it work. And I did. So, I’ve had really good editors. I’ve been really lucky there. They’ve been pretty awesome.

I like to point out to writers who are worried about being edited, that, especially if you’re at a big house like Baen, or my publisher, DAW…you know, my editor, Sheila Gilbert, who’s been in the business for 30-some years now, editing…

She’s awesome, yeah.

They have seen more stuff than you have in the field and know, you know, they know when things aren’t working, and they have a pretty good feel for what does work. So, yeah, I’m very humble when it comes to being edited.

One of my favorite editing stories is…just to put this in perspective for most authors, you know, a good editor is mostly there for suggestions. It’s your story. A bad editor takes over and makes you rewrite it according to their every whim, and that’s just bad editing. That’s not a good fit. My favorite editing story, just to illustrate how a good editor works, is in one of my books, I have this scene, where it’s about…it’s from the bad guy’s perspective, and she’s… it’s this kind of this lonely scene, and she’s doing evil things, and it’s just to show that she’s an evil messed-up person, and then at the end, she gets this cupcake out of her backpack and puts a candle in it, because it turns out that today, this day she’s doing all this evil stuff, is her birthday. My editor read this scene, and he said, “No, no, no. This is what you do. How about open with the cupcake and the candle and her singing ‘Happy Birthday’ to herself? And then you back up to how you got there. And it just…all I did was move, like, two paragraphs, but all of a sudden it made the scene like a thousand times cooler. So that’s what a good editor does, you know? They just kind of help you massage stuff to make it better.

Well, we are getting close to the end here, so we will move on to the big philosophical questions I like to ask.

Sweet.

Yeah. This podcast is called The Worldshapers. And yes, that’s partly because my latest novel is called Worldshaper

Nice.

Notice how I eased that in there. But I guess the question I like to ask authors is, obviously we all shape, we shape our fictional worlds. Do you ever have…you’ve said you’re not, you know, you’re not focused on pushing a message by any stretch, but do you still hope that in some way you you shape, if not the world, per se, that might be a little grand but, at least have an impact on your readers in some fashion?

I do, yeah. Actually, this is a really interesting one as a writer. You know, I think how…we hear from people all the time, and I don’t like to…I get a little…I don’t like to share these stories, but I’ll just speak in general here…but we hear from readers all the time how somehow, something we wrote touched them, where they’re going through a hard time and we cheered them up or, you know, they lost a loved one, and they were sad for a while, but the first time they laughed in a month was, they read one of our books, and it made them smile. It made them forget the suckiness of what was going on in their life right then. And so, there’s little moments like that and, you know…I was on a panel one time with Jim Butcher and another author (who I will not name), and somebody asked this question, and Jim was very classy and said, “You know what, I’ve got a lot of my readers tell me I’ve improved their life or I’ve helped them out of a tough spot or, you know, I cheered them up, but those aren’t my stories to tell. Those are theirs.” And I was like, “You know, that was so classy.” And I really respected that. But then the next author went onto this really long-winded story about how he saved the day and how he was so super-important, and I just remember sitting there thinking, “Yeah, Jim’s answer was way classier.”

But as far as message, I tend to write about, I like writing about, heroic people. I like writing about brave, rugged individuals who don’t fit in, who try to do the right thing. I’m old-fashioned, I do believe in good and evil, and I like when the good guys succeed. I like when the good guys fight. They don’t always succeed, because, you know, the bad guy’s got to win sometimes, too, or there’s no tension. But, you know, I like good versus evil, I like these big epic struggles. One thing I really enjoy, and this was kind of like my point in the Grimnoir Chronicles, was, I was writing about these people that were facing all these hard odds, and they were fighting against kind of this, like, totalitarian government. And part of my, part of that was, the big question in that series was, “Do the people own the government or does the government own the people?” Because these were…you know, it was a very American 1930s book, but that was the big philosophical question. In Son of the Black Sword, I’m writing about these people with these really brutal caste systems and this Law where everybody has…what some of the people keep saying is, “Every man has a place,” because in this society everybody has what’s expected of them, and if you go outside of what’s expected of you, that’s trouble. And so, I’m writing about the people that are the oddballs, the people who don’t fit in, the people who, you know, they’re bringing crazy, crazy ideas like liberty or freedom, and how just insane that is. I love touching on that stuff. I love entertaining people. So, if I can accomplish anything, it’s just to give people a good time, you know, make them happy, cheer ’em up, give ’em some cool, fun ,action-adventure. If I brighten somebody’s day, then I did my job. I guess that’s how I look at it.

I had this conversation with Toni Weisskopf, and I was saying basically what I just said, and she kind of shot me down, because she takes a very different outlook on that, because she’s primarily a science-fiction person. She says the job of science fiction authors is to teach people to dream big so they can ry to achieve these great things, and then the job of the fantasy authors is to make people heroic enough to do it. And I thought that was kind of cool.

Well, bringing it back from effect on readers to you, why do you do it? What do you think drives any of us to write and to make up stories?

Well, on the on the very first, most base level, I love getting paid. One of the writing jokes on my blog, when I’m writing about it is, “I’m like the prophet of capitalism, man, I’m all about, ‘Hey, we tell good stories, readers like it, they buy our books.'” But, honestly, a big part of it is, I just like telling stories. I’ve always been a storyteller. I was always that kid with the big dramatic story. I was always the guy that was, you know, just telling everybody else what’s going on, telling jokes, telling tall tales, campfire stories, whatever…oh, speaking of which, when you wind up, when you get drafted to be a scoutmaster and you go on a camping trip, and, you know, you do the thing where you tell the scary stories to scare the teenagers? Nobody is better at that than a professional fantasy author. I’ve written a lot of horror, too, so, man, I can scare the crap out of some teenagers around a campfire. I am legend for that. But, no, I just like telling stories. I enjoy it.

And the fact that I get to do this for a living and get to do this all day for fun is kind of amazing. It’s like the coolest job in the world. I get to just…as my mom says. I love the way my mom, my mom phrased this one time as, “I make crap up and tell lies for a living.”

That’s about it.

Thanks, Mom! Great way to put it. But yeah, no, it’s awesome, it’s the best job ever. I absolutely love what I do and I’m very, I’m super thankful that I’ve got fans that let me do this for a living. I love my fans.

There’s a famous…I live in Saskatchewan there’s a famous author from, actually, the same town that I used to be the newspaper editor, Weyburn, W.O. Mitchell, and way back when I was young, which has been a while, there was a television program that had some of his stories have been dramatized, and he sort of did the Alfred Hitchcock thing and introduced it, but the title of the anthology series was The Magic Lie, which I think is a pretty good description of what fiction is.

Pretty much, yeah.

Now, what are you working on now?

I’m working on a couple of things simultaneously, because that’s how my brain works, but I’m working on Destroyer of Worlds, which is Book 3 in the Saga of the Forgotten Warrior, and I’m also working on another novella, which is gonna be an exclusive for Audible back home. My series is called Tom Stranger: Interdimensional Insurance Agent, which is my comedy series. It’s narrated by Adam Baldwin, the actor from Firefly and The Last Ship. He’s awesome. He’s a great guy, great sense of humor, he does wonderful comedy, and so I’m doing that right now, too. So, one really super-serious project, and one super-silly project at the same time. We’ll see how that works out.

And looking further down the road, what’s what’s still to come that you know about?

Oh, gosh. Well, so after those two I have, later on this year I have a anthology called Noir Fatale, which was edited by me and a great writer named Kacey Ezell, and Noir Fatale is a collection of science fiction and fantasy noir-themed stories, you know, hardboiled detective, femme fatales, murder mysteries. We got some great writers in there. I got David Weber, who did a new Honor Harrington story for us. I got Laurell Hamilton, who did a new Anita Blake story for us. We’ve got a bunch of really super-talented authors in there. I’ll plug my daughter, my daughter actually sold me a story that’s in there, it’s a Japanese ghost-hunting detective story, and she, you know, she had to actually…nepotism is a hell of a thing, but she had to sell it to me and it’s really good.

So I have that coming out later this year and then I also have another collection, the second volume of my collected short stories, called Target Rich Environment, Target Rich Environment Volume 2 comes out at the end of the year. Oh, yeah, Monster Hunter Guardian, the next Monster Hunter novel, this one is a collaboration with Sarah Hoyt, it comes out in August. So this is the sixth book in the regular Monster Hunter series. It’s about a character named Julie Shackleford, who is one of the main, main characters in the series, and it’s awesome. This book is really cool. The best way to describe it is…you know the movie Taken? This is the Monster Hunter version of Taken. Its intense. It’s really good.

So lots to look forward to, then.

Yeah, it’s kind of funny, there’s like a Larry Correia release every quarter this year. They keep me busy, but I like to work, so it works out well.

And if people would like to find you online, where would they look for you?

Monsterhunternation.com is my blog, but I’m also on Facebook. I am no longer on Twitter. I got banned off of there. (Laughs.) No, I’m still on Twitter, too. I gave up on it. I’m on Facebook, just under Larry Correia, but the best place to find me is my blog, monsterhunternation.com.

Ok. Well, that brings us, I think, to the end of the time, so thank you so much for being a guest on The Worldshapers.

Well, cool, thank you so much for having me on. I appreciate it.

It’s been great fun.

All right. And that will be close.

Episode 17: David John Butler

An hour-long conversation with David John Butler, author (as D. J. Butler) of the Witchy Eye epic fantasy trilogy for Baen Books, set in an alternate version of early 19th-century America, and as Dave Butler of the middle-grade adventure series The Extraordinary Adventures of Clockwork Charlie, published by Knopf.

Website:
www.davidjohnbutler.com

Twitter:
@DavidJohnButler

Facebook:
David.Butler.16

David’s Amazon Page

The Introduction

David John Butler

David John Butler is a novelist living in the Rocky Mountain West. He trained in law and worked as a securities lawyer at a major international firm and in-house at two multinational semiconductor manufacturers before setting up in solo practice. He’s also a consultant and corporate trainer. He teaches business acumen to employees of world-class companies.

Dave is a lover of language and languages, a guitarist and self-recorder, a serious reader, is married to a “powerful and clever woman,” Emily Butler, who is also a novelist, and has three “devious” children. He’s been writing speculative fiction since 2010, ranging from fantasy to science fiction to horror, and writes for young readers as well as for adults. He’s published by Knopf, Word Fire, and Baen, and he’s also the acquisitions editor at Word Fire Press.

The Lightly Edited Transcript

Welcome to The Worldshapers, Dave.

Ed, thank you so much for having me. I’m thrilled to be here.

We encountered each other at DragonCon. You were signing–it was actually my first DragonCon, by the way, a little overwhelming–you were signing at Bard’s Tower,which is a sort of a travelling bookstore that shows up at conventions, and speaking of towers, I was shocked by how tall you were.

Oh, yeah, I was once six foot eight. I haven’t measured myself in a long time. You know as a a kid you stand up against the the door frame and get a little pencil mark every year and a half or so. But as an adult you don’t need to. I’m pretty sure I’m shrinking now. I suspect I’m probably six-seven at this point. But, I’m still quite tall.

Well, I’m six-two, which, you know, normally is pretty tall around most people, so it’s always a surprise to me when I meet somebody that’s as tall as you are.

Yeah.

You’re also my third David on the podcast, which is interesting. David B. Coe was the first one, and David Weber, and now you, so…

Well, third time’s the charm.

Well, I’m wondering if I can find an author named Goliath just to get a little balance here.

It’s funny that you mentioned those guys. The editor at Baen, David Afsharirad, is putting together an anthology–and I have forgotten the title of it–in which every single short story is written by someone named David.

I should change my name.

That is a way to get in!

Well, a little later on we’re going to focus primarily on your trilogy, which began with Witchy Eye and follows up with Witchy Winter, which should be coming out in paperback about the time that this podcast goes live, but I’d like to start by–and I always say this-going back into the mists of time. How did you first begin writing? How did you become interested in writing, and also how did you become interested in writing specifically in the fantastical realm?

Yeah. It’s actually the same answer. I was seven years old and my dad, who was a professor, had been at an academic conference and he came home and he gave everybody…he had a gift for every kid, and the gift he had for me was the 25th Anniversary Silver Jubilee edition of The Lord Of The Rings and The Hobbit paperback with the Darrell K. Sweet covers, red, blue, green, and yellow, and I laid down in bed and I didn’t come out until I had read the books, took about a week. I almost burned the house down. I had a little bedside lamp, you know, and I fell asleep with the lamp on and the lamp had just kind of nodded down and laid against the pillow. And when I woke up it burned a circular hole next to my head. Oh yeah. So so much longer that would have been really tragic.

We’re lucky we’re having this conversation, then.

We are. In an alternate universe, you know, the world never got to know the many gifts of Dave Butler because he died at the age of seven. But, yeah, so that was it. So, I was I was convinced from the age of seven that I wanted to be like Tolkien. I read and reread that, I looked for…I think many people did look for a way to recapture the experience of first reading Tolkien. I think a lot of fantasy writers of a certain era got their start basically profoundly imitating Tolkien. By the way, I think that is in some ways a fair characterisation of me, although hopefully I have more self-awareness than people who were writing in the ’70s did about the activity. And as a reader I was looking to recapture that experience. And so, from the time I have thought of myself as a big reader I have thought of myself as a reader of fantasy.

What were some of the other novels that you picked up on? I mean, seven is pretty early to read Lord of the Rings, so what else did you find after that?

It is. Well, you know, there was a limited amount. Really, the the young-adult sections and the middle-grade sections of the bookstore have exploded since that time. There was simply less of it. But there was some, you know, stuff written for younger readers, like The Moomintrolls, or I remember, you know, Pippi Longstocking with fondness. But really I was reading on the science fiction side, you know, Isaac Asimov and Larry Niven, and some of the sort of classic science fiction writers. Edgar Rice Burroughs: I loved the John Carter books more than Tarzan, but I read them all, as well as the the the Venusian series, the Venus books. I did read, over and over again, Terry Brooks, at least the first trilogy. I read..I mean. you know, seven is young for Tolkien, but it was about two years later that I was reading Stephen R. Donaldson. And I think…I don’t know, candidly, if my parents were sort of benignly neglectful and just said, “We’ll let Dave read stuff,” or if they just weren’t aware because they had too many kids. I mean there were like six of us, so you can’t really police six people’s reading. I remember going at the age of 11, walking to the library and checking out the the Gor books, which are really not for children, but no librarians ever bated an eye, they’d just check them out and send me home.

My story there is, our library had two sides, there was the adult side and the children’s side, and the librarian actually did tell my mother that, “You know, your son is checking books out of the adult side of the library.” I was about 11. And my mom said, “Oh, it’s okay, he only reads science fiction,” which made me think that Mom probably didn’t know what was in some of the books I was reading. I was reading the Gor books along about then, too.

Right, having my young mind kind of blown by that and others. So, pretty widely. Anne McCaffrey’s Dragonrider books, Andre Norton, Katharine Kurtz–loved Katharine Kurt’s Deryni books. The Earthsea stuff, Ursula Le Guin, and others. Yeah, widely.

So, you’re reading widely, but when did you actually start attempting to write?

The first teacher I ever had who told me that I should think about being a creative writer was when I was briefly…the beginning of eighth grade, the first seven weeks or so, I was in a middle school in New Jersey, and I I was in a creative writing class, and the teacher said, “You know, I think you have a gift for writing,” which…no one had ever said this before. I’d never really tried to write, except…what I would write as a kid was. you know, the inside of the book was way too big to write, so I would imagine these stories and I would write the outside of the book, the hundred-word blurb on the back, you know, the three-sentence excerpt from the inside front page, front cover. So I hadn’t really written anything. I don’t think that I wrote a coherent short story until I was in eighth grade. Then I was in creative writing classes on and off in the rest of junior high and high school, and then I stopped. And in college I didn’t go that way. I was not an English major. I majored in Near Eastern Studies. Frankly, it was sort of a fast way to get through. And I went to law school. I chickened out. I took the deal. I took the world’s deal and said, “OK, I will go have a job. I will put on a necktie and I will do the necktie thing and be one of the necktie people.”

When you were writing, in school, before you hit college, were you sharing your writing, you know finding out that people liked to read your stories?

In a limited way. You know, the creative writing classes I was in would have publications, and so I published things, and I published a few things for the same reason in college. I wrote a 14-line sonnet, formal sonnet, in Italian about a dog getting hit by a car, which I got published in the little creative writing paper, whatever it was. But really, not very much. The biggest creative outlet I had for shared creative storytelling was actually tabletop roleplaying, and I did an awful lot of that from about the age of 13. And at 13 I had no money, so I was just kind of making rules up, and then I got in high school and had little money so could buy books. So, right through to the end of college, at 23, I played a lot of role playing and then gave that up for about 20 years.

I’d like to say…well, I don’t know that I’d like to say, but it’s quite true…that although I majored in journalism at university, theoretically, with a minor in art, I really majored in Dungeons and Dragons and everything else I kind of fit in around that.

Look, I think that a lot of the interests that I have in life may may have been influenced by the roleplaying I did or, in the alternative, you may say they they manifested in the role playing I did. My interest in history and anthropology and comparative religion and myth and language really are all,,,you see them in the choices of the games I played and the way I played those games, and that’s the stuff that’s sort of then come out again as I have turned to creative writing in the last ten years.

Well, now, you did go into law, and law is very much a word-based profession.

That’s true.

Do you find, now that you have turned back to writing, do you find that that training as a lawyer has had any influence or effect on your writing?

Yeah, absolutely. Several things. First of all, the practice of law is absolutely a profession of writing. Now, it’s a very particular kind of writing. Accuracy, precision, really matter. You know, coming up with a long and colorful list of synonyms to avoid repeating the same word is not necessarily important. (I guess, actually, in some kinds of law practice that is, too.) Two other things: one, being a practicing lawyer gave me a lot of experience in writing as part of a team. In other words, where we are a group negotiating a contract or we are attempting to describe an underlying business that’s going to list its stock on the stock exchange. And I had a lot of experience in me being in a position of proposing language that then got discussed and edited, and me getting comfortable with the idea that, “Hey, I’m not wedded to my formulation, I’m wedded to getting the right response.” So I think that in some ways this has made being edited relatively easy for me. I’m able to step back and say, “Look, the goal here is to get the right description, the right book.” I’m able to detach myself, my ego, from the words on the page.

But another thing is, I was a full-time practicing lawyer for something like 13 years, kind of depending on how you count. Technically, I’m still a lawyer now. I have 13 years of experience being a professional, keeping obligations, being responsive and responsible, negotiating contracts, thinking clearly about business relationships. And I have found that to be very valuable as a writer. My experience is that this is an industry that is rife with people who kind of don’t really think deadlines are a big thing, who don’t really clearly understand what the deal is they’re getting into, who just sort of write a book and then hope they will be J.K. Rowling. And I have not had to be that because I have relevant experience.

When did you turn back to writing, then?

Well, in 2010 a there was a wonderful lovely day in spring. A beautiful thing happened, which was that I got fired, and I got fired in the best possible way. A company was acquiring the company where I was the senior corporate lawyer, and they weren’t going to keep me, but they needed me to stick around for the deal, so I got a parachute. It’s wasn’t a golden parachute, maybe it was bronze, but basically it meant I could get fired and I could do what I wanted for two years.

Cool!

It which is great. I highly recommend it. You should you should totally do that.

And actually I had been…in the interim, I had gotten the idea of writing screenplays, and so I had written several spec scripts that went nowhere. I also had written a body of, I don’t know, a hundred songs or so, and gotten into home recordings, so I had a studio and guitars and kind of a Dave Butler songbook, but it wasn’t…it took me a few weeks of kind of casting about, thinking about different possibilities before I realized, at the suggestion of a friend of mine who had recently got a big press deal, his first publishing contract, that I thought, “Oh, yeah, this is what I always wanted to do as a kid. Now, of course, I can do it.”

So that was 2010. I wrote full-time for two years, then I had to sort of take up the practice of law for a while again, and eventually moved to the corporate training, sort of a little more stable. And that my day job at this point. I’m self-employed, but I’m a corporate trainer. That’s the majority of my income. But from 2010 to now, I don’t want to shortcut any other questions you may have, but basically in the eight years, I have got five books published by national publishers and, depending on how you count, maybe something like 10 books published by an independent publisher called Word Fire Press, and I’ve got, you know, contracts, I’ve got two books coming out next year and contracts for another four that I haven’t written yet. And on the way my wife decided to get into writing. So getting fired was literally the best thing that’s happened to me professionally in my life. It made me do this.

So what was your first professional sale then?

The first, like, to a national publisher…that’s an interesting question. So, the first thing I wrote in 2010 was terrible, but then the second thing I wrote was pretty good and I got an agent, and I had an agent for a year, and he was a big deal. He’s the head of a kind of mid-sized agency and he couldn’t sell the book. And then he dumped me. And then in the meantime, sort of a year later, my wife got her own agent, initially with a co-written book that she and I had co-written. That didn’t sell, either, but then her agent, the second thing he took out for her was…she did a rewrite of the book that originally picked me up my agent. It is not published. It was a professional sale. The book was called The Case of the Devil’s Interval. It was a middle-reader story about a young, an eight-year-old, genius who is murdered by goblins and finds herself a ghost.

In the first version I wrote it was in Victorian England, and as a ghost she kind of is a superhero, and so the first story was about her solving the mystery of her own murder and setting up as a fighter of crime. And that sold. So, I wrote it originally in Victorian England. Emily and her agent, she did a sort of a revision that reset it in Federalist Boston. And that was bought by Egmont, as part of a two-book deal. And that book should have come out in…let me think about this…should have come out, I want to say, in fall of 2015, but then in about February 2015 Egmont, which is…you may not know their name, they’re Scandinavian, and they were making a bid to try to become one of the top five publishers in the US. And in February 2015…I think I have the timing right…they decided that they were done, and they just pulled out and they orphaned all their books. So the book..we have ARCs. The book had been fully edited. We got paid. We got the rights back. It got all the way to ARC. There are reviews you can find reviews on Goodreads, because copies of the ARCs went out to reviewers, and then the book never came out.

That’s annoying.

Freya & Zoose, the debut novel by Emily Butler, Dave’s wife

Yeah. Now my wife’s first first debut (Freya and Zoose, published by Crown Books for Young Readers) is finally going to happen in January, which is a huge relief to her, because she’s been working at this since like 2011, and it’s sort of hard to keep going when you feel like no one…you do a ton of work and no one has any idea. So, I think it’s been harder for her than for me but, yeah, so that was my first sale. It was that co-written book, sold by my wife’s agent, and the book never came out. I think it will someday, in some form, but there’s sort of a moral there: all of the horror stories you hear about publishing, are all true. They’re all true.

Yes, they are. I have several of them myself. So, what was your first published book, then? The one that actually appeared.

So, we’re talking about from national publishers?

However you would like to define that.

Rock Band Fights Evil, available from Word Fire Press

Well, OK, so let me give you a couple of separate answers then. So, while I had my first agent, whose name was Peter, I realized early on during the year of having him as an agent that he was going to read my stuff at about one-fifth of the rate at which I was writing it. So, I had a call, and I said, “Look, what should I do?”, and he said, “Well, people are doing self-publishing, you should you should try to go self-published.” So I did. So, my first things published at all were self-published. They’re now out from Word Fire Press, but I had a series of novellas called Rock Band Fights Evil, which I wrote to start to find readers, to be a calling card, to get out there, to not wait for my agent. That’s the earliest thing. And that would have come out in…the first one came out something like December 29, just before year-end, 2011, I believe.

First book in The Extraordinary Adventures of Clockwork Charlie, published by Knopf

Now, my first nationally published book was with Knopf, I have a trilogy, its middle-reader steampunk action fantasy. The first book’s called The Kidnap Plot. I picked up a second agent. So, my first agent dumped me then. Then my wife got an agent and he went out selling her stuff and our stuff together. And then I took this book, The Kidnap Plot out to agents again, and I picked up an agent. Deborah Warren is my agent, still is. I love Deborah, she’s very good. And she said, “OK, I’m going to send this book to…” So this was in March 2014 or something, so about four years I’ve been doing this now at his point. She said, “I’m going to send this to one editor on a sneak-peek exclusive look for a week.” And she did, and that editor bought it. So that came out in June of 2016. So a little over two years later. And the books have come out basically one year since, and that is a completed trilogy. It was fun! Michelle Frye is very, very good. Knopf is a big publisher. I got to have stablemates. Fellow Knopf publishees include people like Christopher Paolini, whom I’ve got to meet and hang out with. You know, he’s infuriatingly young, but he’s a cool guy.

He was even more infuriatingly young when he got published.

He really was. So, that was that was my first.

You mentioned that your first was a middle-grade, or for younger readers, so you’re still writing for both young readers and older readers as Dave Butler I think, is that what that’s what you use for your younger books?

That’s right. So, The Kidnap Plot by Dave Butler is book one of the series. And that’s just a way to signal to people who the intended audience is. I am thrilled if adults want to read The Kidnap Plot and I expect some young readers are going to go read Witchy Eye stuff, too. I certainly would have been one of those who did.

Yeah, I would have to. Since you do write for both ages, I was going to ask you, what do you think is the big difference between writing for the younger and the older readers?

I think less than people often imagine. I think some people approach writing for younger readers and some publishers approach writing for younger readers as a matter of, “Oh, I can’t say certain things,” and there is an element of that, but the truth is young people need to learn about death and they need to learn about violence and so I think the bigger difference is not that you can’t touch certain topics but that you need to be providing an inner journey for your characters or a subplot or a secondary arc or whatever writing lingo you want to call it that reflects the inner journey that your readers are going through. So, the real thing that defines a book is being a middle-grade book is that the character is having a middle-grade type experience in their own life, and that means learning the answer to questions like. “Who am I? How am I different from my parents? What do I need to do to be independent in the world?” Right? Those are the those are the things that 12-year-olds and 10-year-olds are are figuring out in their own life. And the same thing goes for young adults. Young adult is the age of first romance and first jobs and first experience, sort of on the cusp of adulthood, and especially young adult books, at this point, often have fairly gritty content. The thing that really makes them young adult is that there are young-adult journeys happening to the characters.

And the age of the characters is obviously an important element to that, too, usually.

Usually. That’s sort of the external sign, right? But the thing it’s a sign of is that the internal journey is appropriate for that age.

All right, well let’s start talking about Witchy Eye and Witchy Winter and…what’s the third book going to be called?

Witchy Kingdom.

So, well, I’ll leave it up to you, then, to provide a synopsis of, well, I guess, Witchy Eye, because that’s the first book, so that I don’t give away something that you don’t want to give away.

Well, so, Witchy Eye is in many ways a a straight-up epic fantasy, a straight up quest story, a fairy-tale-influenced story about, well, about a character who comes of age, sort of. It is my bid to be Tolkien, in many ways. Now, the main character’s named Sarah. Sarah is a witch. She is talented and clever and brave and funny and fiercely loyal and paranoid and xenophobic and mean. And the story opens on the day of the Tobacco Fair in 1815 in Nashville, because this is an epic fantasy, but it’s an epic fantasy set in an alternate America, and it’s an America that looks that looks like America in terms of its languages and people, and some of its heroes, but in terms of its power structure operates a little more like the Holy Roman Empire, with a bunch of semi-independent powers and an elected emperor who is, at the time the story opens, Thomas Penn. Penn Landholder.

So, 1815: it’s October, Sarah lives in the Nashville area, she takes the the family young’ns down to sell the crop, and Imperial Army officers try to kidnap her. And she learns that she has a secret history. a history so secret she herself is unaware of it. She is the hidden daughter of the dead Empress, Mad Hannah Penn, and her uncle, who she’d never knew was her uncle, the living emperor Thomas Penn, military hero Lord Thomas, has discovered her existence,, views her as a threat to his wealth and power, and wants her killed. She learns also that she has two siblings, that she had kind of a strange fairy-tale type birth that resulted in her birth and the birth of two other siblings. They’re hidden elsewhere in the Empire, and her quest is to find her hidden siblings, to recover the lost wealth of her mother, Hannah Penn, and the lost royal authority of her father, who was another sort of military hero and semi-legendary figure, the king of one of the seven Mound Builder kingdoms of the Ohio River Valley. So, it’s very questy, it’s very epic fantasy, it’s very fairy tale, but things are playing out in places like New Orleans and Philadelphia and Nashville.

Yes, it’s very interesting in that regard. The term that’s been applied to it I see is “flintlock fantasy,” which is actually not a term I’ve ever seen before, I don’t think. Was that invented for your book or have you seen it somewhere else?

I think it’s been…also I’ve seen black-powder fantasy. I think there is another term or two. People have been trying to find…because this isn’t. I’m not unique in having written sort of epic fantasy in a time when there are also muskets. So while I was writing this, Django Wexler was publishing his books, my friend Brian McClellan’s got, I think, six books out that, again, involve sort of both early modern gunpowder but also epic fantasy elements, and there are others. So I don’t know if there is yet a consensus term. I don’t think this was invented for me. I have seen things words like muskepunk as another one.

It’s just a bit earlier than steampunk seems to be what they’re going for.

Well, I think that’s right. I think the steampunk brand was successful enough that people have invented many other kinds of punks.

Yeah, I had a book from a publisher, which is now defunct and now I’m shopping around again, they decided to call it voltpunk because it involved magic that was vaguely like electricity. It wasn’t my idea at all, and I’m not sure it’s a very good description, but at least I hadn’t seen it before. But anyway, voltpunk was kind of catchy. So, where did the idea come from?

Oh. man. From multiple places or from multiple streams commingling in my heart. So let me let me parse out some of the streams. One of the streams is my own children. So, the three children who are at the center of this story, Sarah is the only one we meet in Book 1, but in Book 2 we meet the brother, Nathaniel, and in Book 3 we get a closer look at Margaret. The story of their birth is is as follows: their father, the king of the Mound Builder kingdom of Cahokia, is riding the bounds of his kingdom on the western edge of the Empire when he dies. In fact, he is murdered by some of his men, acting under orders from from his brother-in-law, Thomas Penn, although that’s not generally known, sorry, spoiler.

I knew it.

There you go, you knew it. With his dying breath he anoints three acorns with his blood and sends them with his Father Confessor priest back to Philadelphia. Hannah, his wife, her response causes people to suspect she has lost her mind. She treats the acorns like they are children. She sings to them and coddles them, and then one day she eats them. And then she gives birth, nine months later, to three children who are variously marked on their head. So, we meet Sarah she’s the title character we see her eye, it’s the subject of the first paragraph. She…at the age of 15, her eye has never opened. She has an eye that has never opened. It looks infected and it’s red and it oozes pus and it’s nasty and she’s already an unattractive woman and kind of a hellcat, and so this gets her negative attention on top of that. But eventually it turns out that that disfigurement is sort of a mark of her birth and her siblings have similar marks, one in her hair and then the other one in his ear.

Now, my kids…so, my son, our first child, was born with his left ear pressed flat against the side of his head and it has never fully relaxed. So, if you look at him straight on, he has one ear…the ear was pressed forward against the side of his head..so he has one ear that looks normal and then one that’s pointing out perpendicular, right? My second child, when she was very, I mean three or four weeks old, she was very young, and my brother Sam was visiting us and playing with her in the crib. And suddenly he kind of called out and said, “Hey, is it normal that her eyes are a different size?” And we rushed in, her eyes, her pupils were dramatically differently dilated. One was wide open, one was very tight shut. Now it turns out there’s nothing wrong with her. It’s a neurological condition that doesn’t hurt her at all, it’s just, I forget what it’s called, it’s got a name. Her pupils dilate at different rates. It’s not an indication…we were worried it was a concussion or something. It’s just, that’s the way her eyes are. So, I have been calling her since she was, you know, five weeks old, my witchy-eyed child. And then our third child has this shocking head of hair. It’s a recessive trait in my wife’s family, sort of one person every generation. The rest of us have kind of ordinary, more or less flat hair, and then kind of one person every generation gets this curly ‘fro, and she’s got it. So, one piece was me wanting to write a story about these children that are sort of marked, as my own children, and a story about them recovering a lost or mysterious heritage from their father. So, really, really, really really at the heart, there’s a story here about me and my children.

Now, there’s other stuff. I was reading several things at the time, I was…you know, I’d finished a book and I was trying to figure out what to write next and I was reading several things. One of them was, I was reading my kids the Brothers Grimm fairy tales, and, you know, i a sort of fairly straight-up translation version where they don’t always make sense and they have very dark endings and lots of death. And at the same time I was reading…and I am not remembering now…I’ve got several different volumes…I was reading a history of the Thirty Years War. And Germany is not something that I ever really studied much in my youth. But reading those two things at the same time made me realize, and I’m embarrassed to say I was, you know, like 34 or 35 or whatever when I realized this, made me realize what the setting of the Grimm fairy tales is, because as an American kid, it’s a very striking setting, because you read something like The Musicians of Bremen and they’re wandering around, these animals, they’re in a landscape where there are princes and there are emperors but there are also mayors and there are people with guns and you kind of go, “Well, what is this crazy setting?” Well, it turns out it’s early modern Germany. It’s the Holy Roman Empire, which I had sort of never made those connections, and I was I was looking for a setting for the story of these three marked children and for a while I thought I might try to set something in, say, 16th century Germany, which would have involved, I think, an awful lot of research.

But then I read another book, which is called Albion’s Seed. It’s a book by a historian an American historian called David Hackett Fischer, who is sort of one of the great figures of American history living today. Albion’s Seed is a history of the English migrations, plural, to North America. We say casually, you know, “Hey, the English came here,” and if we say that we may think about that in terms of Plymouth Rock, but in fact there are at least four major distinct streams of migration into North America at the era of the founding, and only one of them is the Puritans from southeast England. There are also Royalists from the southwest and there are the Quakers from the, sort of the Scandinavian-influenced North Midlands. And then there are the, he calls them the North Borderers, the North British Borderers, something like that. The conventional term in America is usually the Scotch-Irish. That is to say, the people from Northern Ireland and the borders of England and Scotland who, you know, the first emigration, the Puritans came to Massachusetts Bay, the Royalists then came down to the southeast, the lowlands on the coast, the Quakers got a land grant and settled up the Delaware River in Philadelphia, and when the Appalachians arrived, they weren’t the Appalachians then, when the Scotch-Irish came, basically all the good lands near the coast already had white people on them, so they kept going and came to the mountains inland and so they settled a huge band that runs from north all the way down to the south in the Highlands. And it’s this fantastic 900-page book of anthropological history and I read this and I thought, “Man, I wish that fantasy settings were this good. I wish they were this detailed,” and then I thought, you know what, I should just write in this setting. This is it. This is the setting right right here. So, I told the story like I had been thinking in a kind of an early modern setting but I told it in a fantasy America rather than a fantasy Germany.

Well, there certainly are…in a way it’s an alternate history, because there certainly are a lot of historical figures that show up and I have to mention one that leaped out at me. I grew up in the church of Christ.

Okay.

And so when Barton W. Stone makes an appearance, there was a name I never thought I would see referenced in a fantasy novel. I mean, I knew it, growing up as I did, from Restoration history and all that. But he’s hardly the only one. I mean, there’s a lot of real historical figures with very very different stories: Martin Luther, George Washington, and all these people. So, how did you decide who to throw in there? It just look it just seems like you’re having an awful lot of fun pulling these names in and giving them new backstories.

I really am. You’re the second person to mention Barton W. Stone to me. I got an email from a woman about six months ago or something…no, shortly before Book 2 came out, closer to a year ago, and she said a very similar comment to you. And I said…because in the book Bishop Barton Stone is one of the the leaders of the of the New Light, which is a kind of a Christian…there’s no Protestant Reformation as such in the setting, but there is a sort of a revival going on, which is called the New Light, and in Book 2 the sort of New Light adherents are referred to as Kissing Campbells and Swooning Stones.

So Alexander Campbell’s in there, too.

Alexander and…hold on, is Thomas the father and Alexander the son?

Yeah, Thomas was the father.

Yeah, Thomas and Alexander Campbell and Barton Stone. You know, so, Tolkien, in writing the Lord of the Rings, is writing on multiple levels all at once. He is writing on a level that is philological, he is finding new meanings for words; he is writing on a level that is musical, because he’s putting settings around poems and songs he’s written; he’s writing on a level that is theological, because there is some profoundly–Tolkien was a seven-day-a-week Catholic. He went to Mass every morning with his boys. After his parents died he was raised by a monk, a priest, for a while. And so his Christianity shows up in there and all of it is sort of wrapped up in him finding a mythology for England that is sort of deeply English. But it’s also deeply and uniquely Tolkien, and I tried to do the same thing actually. And so there is a degree to which I am trying to consciously look at different streams of history in our collective past and in the stories of individual cultures. But there is a degree to which, inevitably, this book can only be idiosyncratically me. You know, I set myself the task to write the epic mythology of America. It’s an impossible task. It’s gigantic. America is impossibly vast: hundreds of cultures and hundreds of languages and and ruins we don’t know who lived in there and creatures that have entirely disappeared. And I’m doing kind of a crazy thing. So, at the end of the day, you know, the whole thing has to be bounded by my own my own aesthetic and my own experience. And Barton Stone and Thomas and Alexander Campbell are very interesting people to me, and they fit right in the story, and so they got to show up.

Well, how thoroughly did you plan all this out before you began. What’s your process. Do you do a very detailed synopsis ahead of time or do you find a lot of it as you write?

I don’t have a detailed synopsis. I know what things have to happen. And I have a partial outline when I sit down to write a book and usually a fairly complete outline of the first third of it, maybe. And then I know what the main posts are,, and I know where it has to end, and in each of the books in these series there are a few big things: okay this is this is the book in which X and Y are going to happen. So, as I’m writing I’m writing to sort of macro signposts as well as sort of a few signposts that I know belong, but there is an element of making things up, of finding inspiration along the way.

As we’ve just discussed there’s lots of historical people in here, and yet they aren’t really quite the historical people. What kind of research do you find yourself doing along the way?

I read a ton. I mean, I’m sitting right now in my office. I’m looking at a bookshelf that has about a third of a bookshelf worth of books on India, including the Punjab and Sanskrit and Punjabi languages, and then about two thirds of the bookshelf is Native American stuff, and it’s got language and culture and history about the Iriquois and the Ojibwe and the Delaware Indians and the Navajo, and that’s that’s one of something like 30 bookshelves in the room I’m sitting in. So, I read an absolute ton. I do read a fair amount of biography. So I’ve read…I don’t know, two or three biographies of Benjamin Franklin and I’m looking at one, actually, now, Walter Isaacson’s that I haven’t read yet, that’s sitting on the shelf in front of me. In Book 2…there are references to this stuff in Book 1, but in book 2 one of the characters we get is a hedge wizard. He is a sort of a low practitioner of magic. He’s a guy who doesn’t have the natural gifts Sarah does, and so his skills are not the high art of Gramarye where you’re imposing your will on the cosmos. It’s traditional spells. And so I’ve got a shelf full of actual medieval and early modern magic books. John George Hohman’s The Long Lost Friend and The Picatrix and the three books of occult philosophy, which I have read. And you know, all of the language in there, I am sure I have made mistakes, but all of the Dutch or the French or the German or the Ojibwe or the Eno that you encounter in there has been read by me, written by me. So I do language studies, too.

Stephen King, in his On Writing…you have to take any book that any writer writes on writing with a grain of salt, because no one keeps all their own advice and writers are all full of crap. But he does say, and I think that is absolutely right, he says, if you don’t have the time to read, you don’t have the tools to write. And so, I read obsessively, and then if I have an individual question, you know, directed research is easier than ever because the Internet will help you find resources. You know, if I want to know, well, what does place X look like, I can probably find photographs online or or go there with Google Maps Street View and take a look. YouTube is also great, because…well. for example there’s a scene in Book 1 where Calvin Calhoun is casting bullets. He’s got a bunch of lead and he’s got a bullet mold and, you know, a pair of clippers, and in the conversation he’s making bullets and. And I didn’t know how to make bullets, but it turns out you got on YouTube and say, you know, hey somebody casting bullets, and you can watch people do it. Enthusiasts will show you exactly what it looks like to shoot an anvil or to make a bullet or to, you know, whatever. So, that that piece in a sense is easier than it has ever been before. But also a lot of fun. I love writing. I love reading.

How do you develop your characters? Just how do you decide who you need in the story and then how much work do you do ahead of time to pen them down in your head before you start writing? Or does that also happen on the fly?

Well, the answer is both, right? It sort of depends on how important the character is. The more important the character is, the more I will upfront say, “Hey, let me write a little backstory for this person, let me, you know, write about kind of their motivation or their thoughts or here’s a little vignette of something that happened to them when were back studying at Harvard that was formative…” But, you know, the truth is that a lot of your characters in a novel are spear carriers. They walk on stage, they deliver a couple of lines and then they get shot or, you know, they they walk off stage again or whatever. So, for a central set of characters, yeah there there is backstory. And then for much larger number, no, they’ll be quicker sort of characterizations or, you know, thinking about, hey, what do I what do I need here? Well I need a guy who’s good at accounting and totally despicable. And then I’ll assemble that character kind of on the fly.

What does your actual writing process look like? Do you work direct from the computer? I still know people who write longhand. I can’t imagine it myself, but…

Yeah, I can’t either. My 10-year-old likes to write and if we won’t let her get on the iPad, so she can’t access her Google Docs, she will…she has two stories going in all time, she will turn to her longhand legal pad story if we won’t let her type. I do not do that. I write on the computer because I’m making a living doing other stuff, my writing process is sort of either I’m doing little bits now and then when I can because I’m busy, or I’m all in working at it for 12 hours a day because I have the time. I will start usually by…if you look in my files on my hard drive, for any novel that’s finished you’ll find initially some kind of scratch documents. Usually my experience is I get one idea that comes to me for free, if you will. There’s a medieval book or a poem called The Conference of the Birds, written by a Muslim poet named Farid ud-Din Attar. And the conference is an allegory for for Islam, or for religion or faith, but there’s a group of birds meeting and a feather falls from heaven. And the appearance of a mysterious feather from heaven starts the birds looking for the rest of the bird. What else is there, right?

And that’s kind of how I experience writing. There is a feather from heaven. There is something that is free, and that is a an idea about a character or an idea about setting or an idea about a conflict or an idea about a scene. And then my scratch documents are me working out the framework that goes around it, where I say, “Oh, well if I want to get to a climactic scene that looks like this, what do I have to, you know, what has to go with it? What kind of conflict would lead to such a climactic scene? What kind of characters would participate in it? Okay, which of these is my protagonist? Who’s, you know, who’s experiencing the most interesting story here?” So, I experience an initial piece of inspiration and then a lot of craft and a lot of forcing yourself to do the work, and along the way then you find lots of other smaller bits of inspiration. So the trail is, you look back at the beginning and there is a document with me just, like, asking and answering questions to myself, and then I build that into these charts that map out some main subplots.

And then I do an outline of the book, where I’ve got sort of a rough outline of the whole thing, and a detailed outline of the beginning, and then I just start writing. Now having said that, I recently co-wrote my first book…well, no, I recently co-wrote a book with a new strategy with a guy named Aaron Michael Ritchey, this will come out from Baen next November, the novel is called The Cunning Man, and we knew we wanted to split the writing of it, so, in other words, rather than have someone write the first draft and the other guy edit, ee wanted to each write half of the first draft. To do that we had to have a really detailed outline. Neither he nor I ordinarily writes this way. So for the first time we spent about a month meeting one to two hours a day on the phone talking our way through the outline and the main characters and the backstories and the sort of magical aspects of the story. And we had a detailed chapter-by-chapter, beat-by-beat outline and then sat down and each wrote half the book. And it worked! The two halves fit together totally. So this is…all my answers are long-winded, Ed, I’m sorry, I apparently am a very long-winded guy…but the point is this is a change from my past process, but it’s one that at least Aaron and I will use again, because it made writing the rough draft shockingly easy. It was all there.

Well, and speaking of drafts, what does your rewriting process look like and what does. I presume…is Toni your editor at Baen?

I’ve had Toni Weisskopf and also Jim (Mintz) edit my books. They both asked to look at Book 3. I haven’t got notes back from either one yet. I think Jim is looking at The Cutting Man. With both books that Baen’s published I got basically one…Toni gave me an email with some comments. Some of them came from the initial reader. Some of them came from her. Not a long list of comments. The biggest comment was, it needs to be shorter. And that was a wonderful comment, because I had turned in a 240,000-word draft, and she just said needs to be shorter. And I said, “OK.” I did not want to cut any characters or scenes, and I found that by just tightening the language I could cut out 35,000 words, and that experience made me a much tighter writer, even as I’m composing, not just in the way I edit, but I just write more tightly.

Before it gets to sending it to the editor, how much rewriting do you do you find yourself doing? Do you have a fairly clean draft when you get to the end? Do you sort of do rolling drafts, where you’re fixing things along the way, or do you go back to the beginning and start all over? Do you share it with your writing group? How does that all work for you?

During the time when I was writing full time for a couple of years, what I did and what I liked very much is I would read yesterday’s chapter. I had a page-count goal every day, depending on the book it was eight or fifteen pages, somewhere in there, eight, 10, 12, fift15 pages. Easy, that’s no problem, that’s like two to four hours of writing. So I would always edit the day’s chapter before, which is great, because then I’m totally in it, and then write today’s chapter. And as notes occurred to me I would go back and revise them in the earlier chapters as they occurred to me. So, in the first several books I wrote, by the time I had a first draft it was quite complete. I was quite quite polished. I just don’t have the consistent time now. I hope to get back to that process. Now, I tend to…comments occur to me and I write them in a note. I have an Eevernote. And, by the way, this happens, I turn the book into the editor, and things are still occurring to me.

But while I’m writing, things occur to me and having written it I let it sit for a few weeks and then I go back and I go through and I read it and make all the revisions that occurred to me and more revisions occur to me and I go through a couple of passes. Then while the book is with the editors, more things occur to me, and so I build up a set of notes again and so I’ll do anothe couple or three passes whenever I get the comments back from from Jim and Toni, and that’s kind of, you know, they’ll probably give me a month or two on it and I’ll probably procrastinate half that time and then it’s been a few weeks.

So, this is a lot of work, obviously. And, you know, I know this, being a writer, as well. So, here’s my big philosophical question as we come close to the end here. Why do you do it? Why do you write? Why do you think any of us write?

Yeah. So, there is a spiritual pattern that seems to be a very, very widespread inheritance of humanity, that finds its purest expression in the sort of Siberian steppes, which is usually called shamanism. And you’ll hear anthropologists say, you know, the Midewiwin medicine men of the Ojibwe are not quite shamanism, but they have shamanistic elements, and you hear that kind of language a lot. A shaman, the distinguishing characteristic of a shaman was that the shaman left his body and travelled…so, the technical term for that is ecstasy. Ecstasy is standing out, stepping out of your body…and in a trance, he would travel to the realms of the spirit, where he would be killed and reborn, where he would find spirits that would bring healing into the tribe, where he would learn the direction they needed to go to find the elk who were not at their usual summer pastures.

And I think that that a novelist is the contemporary descendant of the shaman .I think there is a craft aspect that we talk about ad nauseum, there is a business aspect that we sort of pretend to talk about once in a while but few of us really understand what’s going on, and by the way, that’s true of editors, too, so we don’t talk about it very much, but I think the core activity is shamanistic, or if you prefer, it’s prophetic. It’s leaving your body, it’s finding the muse, it’s encountering things of the internal world, things that are meaningful for you and your tribe, and then coming back and presenting them. And just like the shaman, you have to be part visionary. But you also had to be part entertainer, you had to be a showman, because you had to tell your story as a poem or act it out to get people to listen to you.

I do it because it’s a beautiful way to try to share and communicate meaning in the world. It’s a terrible way to make money. As a money-making proposition, it’s kind of like lottery tickets. Yeah, you might be J.K. Rowling, but almost certainly not. Almost certainly you’re going to make a very tiny amount of money and that’s it. If you want money, you’re better off just getting a government job and saving your money and you’ll retire as the millionaire next door. But as a way to make beauty and make meaning it’s absolutely terrific.

Well, and on that note, in what ways are you…now, this will come out just about the time that Witchy World comes out in paperback, so looking ahead to that from when we’re doing the interview, what will you be working and focusing on in 2019?

Well, so, we just turned in the first book…Baen bought two books, and so we’ll write at least two books of them. The first book is called The Cunning Man, and that’s set in the 1930s. A cunning man is an old English. but not, now I don’t mean Anglo-Saxon, I mean like it’s just, it’s old and it’s English, word for a kind of magician A witch was somebody who was malevolent to you. A witch cursed you and was a bad person. A cunning man, the research shows that they were mostly middle class. They were business people. They were like gunssmiths, or tanners, who also had a magical practice, and because they could read and they could gather enough kind of knowledge of spells, you know, when you wanted someone to fall in love with you or you wanted to heal your cattle of the murrain or whatever. you’d go to the cunning woman or the cunning man. So, this series is set in the 1930s, about a practicing cunning man who is dealing with some of the practical problems of the Great Depression, and finding that behind the bankrupted businesses and played-out farms there are demons and curses, and he battles them with his traditional magical law. So late next year we’ll write Book 2 of that.

What I’m working on now and I think will probably hopefully be finishing up about the time…well, that’s optimistic. I’ll be working on this about the time that Witchy Winter comes out in paperback…is a standalone fantasy novel. And I think I have finally settled on the name The Other Jack for the title. I’ve had various ideas, none of it felt right, I think The Other Jack does it. This is a a secret history of the life of J. Pierpont Morgan, and the idea, the opening chapter or the prologue is in the 1830s in Cairo. There is a group of Jewish scholar-magicians, including, there’s an old man who learned in his youth that, at night, he dreams the future, one hundred years in the future. And so, in the early 1830s he’s dreaming the rise of the Nazi party. And so these scholars are trying to come up with a way to try to prevent this, to stop the rise of German fascism. And their plan is, ultimately they what they want is they want the US to forgive the debtors of World War One, France and the UK, so that France and UK will forgive Germany’s debts, so that Germany between the wars does not become an economic basket case, so that Hitler does not have fuel to to light his bonfires. Right? That’s the plan. And they want to do it by taking over the House of Morgan.

So it’s about…in the real world, J. Pierpont Morgan’s life, he was sort of the great banker of his day, of the Gilded Age, is full of all kinds of fascinating little details, including an obsession with Egypt–he would go every year and sail up the Nile–but also including, in the Civil War, after Gettysburg, his number was called up in the draft, and he did not go. He paid somebody else and that guy, in real life, he then took care of him his whole life, I mean, not as a dependent, but he just made sure the guy was OK, if the guy was out of a job or something, Morgan would help him. And he jokingly referred to him as the other Pierpont. And so, this idea of kind of a vicarious personality is already embedded in Morgan’s life, so this story is going to be about a three-way switch that happens at that moment in 1863 where J. Pierpont Morgan’s soul is put in the body of that substitute, so they can replace it with a with a body of someone who’s part of this conspiracy to try to stop 20th-century Naziism. So it’s about a three-way body switch and about these three men kind of learning what’s happened then and trying to get their own bodies back or decide what to do about it.

Sounds ambitious and very interesting.

Yeah. Should have a climax aboard the Titanic. J. Pierpont Morgan had a cabin scheduled to be on the voyage of the Titanic and then didn’t go at the last minute. So you know that’s got to be in the book.

And where can people find you online so they can follow along and see what all these things are that you’re working on?

I have a Web site but it’s pretty static. I only rarely post, www.davidjohnbutler.com. It’s easy to follow me on Twitter @DavidJohnButler. And also on Facebook, Dave.Butler.16, there’s a lot of Dave Butler it turns out in this world. David.Butler.16. Usually my profile picture has me wearing a tricorn hat.

Seems appropriate. Well, thanks so much for for being on The Worldshapers.

Ed, thank you very much for having me. I really appreciate it.


Episode 12: David Weber

An hour-long (and then some) conversation with David Weber, author of the Honor Harrington science-fiction series, which this episode focuses on, and many others, including fantasy (Oath of Swords, The War God’s Own) other space opera (Path of the Fury, The Armageddon Inheritance) and alternate history  (1632 series with Eric Flint).

Website:
davidweber.net

David Weber’s Amazon Page

The Introduction:

David Weber was born in Cleveland, Ohio, but moved to Greenville, South Carolina with his family by the time he was two. Some of Weber’s first jobs within the writing/advertising world began after high school, when he worked as copywriter, typesetter, proofreader, and paste-up artist. He holds a Master of Arts in history from Appalachian State University in Boone, North Carolina. 

Weber’s first published novels grew out of his work as a wargame designer for the Task Force game Starfire. He wrote the Starfire novel Insurrection (1990) with Stephen White. This book was the first in a tetralogy that continued through their last collaboration, The Shiva Option (2002), which made The New York Times Best Seller List.

His most famous series is the Honor Harrington series, but he’s also written epic fantasy (Oath of Swords, The War God’s Own) other space opera (Path of the Fury, The Armageddon Inheritance) and alternate history  (1632 series with Eric Flint), and much more: he estimates some forty-seven published or in-the-works novels.

Weber and his wife, Sharon, live in Greenville, South Carolina. They have three children.

The Show:

David Weber likes to quote Robert Aspirin: “Professional writers are like rats, if we don’t wear our fingers down on the keyboard every day, our fangs grow through our brains and kill us.”

He started writing in fifth grade and has supported himself through writing-related activities of one sort or another since he was seventeen. He wrote his first novel-length work in Grade 10, and says, “I can’t imagine not writing for my own pleasure if not for anything else.”

His first published novel, Insurrection, was the consequence of some wargame design he’d done with his friend Steve White. They started exchanging short stories set in that world, and eventually realized they had a novel—which ran some 283,000 words in the first draft. That had to be pared down, but Baen bought it in 1989.

David says he “met science fiction” when he was ten years old. Mobility-restricted because of a broken arm, he read his father’s Fantasy Press hardcover of Jack Williamson’s The Legion of Space and followed that up with Genus Homo by L. Sprague de Camp and P. Schuyler Miller. He was an eclectic reader, he says, because his parents’ position was their kids could read anything they wanted to, figuring, “If we were old enough to handle it we could handle it, and if we weren’t it would sail right past us.”

Other books he mentions are (to Ed’s delight) the Swallows and Amazonsseries by Arthur Ransome. On the science fiction side, he mentions Heinlein’s juveniles, Andre Norton, H.Beam Piper, Mack Reynolds, Gordon R. Dickson, and Anne McCaffrey.

Although Insurrection was his first published novel, his first submitted novel (rejected) was fantasy. That was Sword of the South, published just a year and a half ago or so. (The manuscript had been lost for years, but one of the floppy discs—one of the really big ones, using CPM and not DOS—turned up and then another, and an IT shop was able to recover the files “for a mere $800.” David rewrote it but says it’s still very close to the original novel. Most of the rewrite was to bring it in line with other novels set in the same universe.

In university, David studied military and diplomatic history. “Forever and ever,” he says, he thought he would teach college history and write on the side, but as he was finishing up his Master’s degree he came across a study revealing that half or more all tenured positions were currently held by people forty or younger. He decide he should alter his priorities, and instead took over his mother’s small advertising agency—she’d retired to look after her own mother, then in her eighties. David sold Insurrection about a year and a half after that, and was fortunate enough to be able to support himself writing fulltime with eighteen months or so of making that first sale.

Having been both a copywriter and a production journalist has taught him not to block, he notes: “Blocking is not an option.” There are times he can edit but not write fiction, because he’s thinking through a story problem, but he says he has “never had a time when I couldn’t sit down and put words on paper that made sense.”

“Writing is the medium through which I tell the story,” he says. “It’s the story that matters.” He believes it is the writer’s voice that wins or loses a readership: two different writers can tell the exact same story, and one will succeed and one fail with a given readership because of the manner in which they tell the story. “A weak story that is strongly told will succeed where a strong story that is weakly told will fail.”

While he has written passages and entire books he’s particularly proud of, for him, if the writing style becomes so important it begins drawing the reader’s attention away from the story, then the style has failed.

“Writing is something that is sort of a physical skill,” he says. “You learn it by doing it.”

David gives a synopsis of the Honor Harrington books, beginning with, “Honor Harrington is a six-foot-two-inch Eurasian martial-artist starship camera.” He notes the book both are an aren’t about Honor: she’s the focal point for most of the stories, but they’re actually about the series of wars she’s involved in. The first few books are very tightly focused on her, but as the war begins to spread, the stories take place on a broader canvas. There are a lot of secondary characters, “named characters,” David points out.

“I hate passages where you have somebody called the lieutenant seventeen times. I try to make the character a person.”

David has been writing Honor Harrington books for twenty-five years. He originally projected the entire series to be eight books: there are currently seventeen novels and six anthologies, counting the collaborations.

David said Jim Baen, publisher of Baen books, had noted that everything David wrote spawned sequels, so he suggested they try planning a series from the beginning. David sent ten ideas, one of which was the Honor Harrington series, one of which became his Safehold series (published by Tor), one the Multiverse series that began with Hell’s Gate, and one whose first book, The Golden Protocol, written with Jacob Holo, comes out in May.

What David didn’t know was that Baen had been looking for someone to write a version of “Horatio Hornblower in space” for twenty-five things. He leaped at the Honor Harrington proposal and offered David a four-book contract.  The first two books were released a month apart, which David says is “brilliant marketing.”

In fact, David says, he doesn’t think anyone else in the publishing industry has ever understood how to grow a new author’s readership so brilliantly.

Another thing Baen created was the Baen Free Library, where free ebooks of some Baen titles were made available—which is where Ed discovered Honor Harrington. “I believe it did nothing but increase readership,” David says. Baen also used to bind CDs containing earlier books and a series and other titles into the back of new hardcover releases in series.

“Spider Robinson once said Jim Baen was the only science fiction publisher who actually wanted to live in the twenty-first century, which makes it even sadder he got to see so little of the 21st century,” David says. (Baen died in 2006 at the age of sixty-three.)

Technology plays a major role in the Honor Harrington books. David said some of that comes from his background designing wargames, and some from the fact he’s been studying military and diplomatic history since he was ten or eleven years old. Before he wrote the first word of the first Honor Harrington novel (On Basilisk Station), he wrote an 80,000-plus word essay covering everything in the Harrington universe, from colonization to life sciences to technological history to politics.

The technology was in part shaped by the story David wanted to tell. It was important, he said, that there be tactical constraints. “In a lot of ways, the story is about what you character can’t do, not what about what your character can do,” he says. “It’s about the limitations they have to work around.

He decided technology would evolve over the course of the novels, and that technology would what would equalize the fight between societies where one was hugely outnumbered by the another.

He also wanted technology that made tactics important, because he’s always been interested in tactics as well as the operational and strategic levels of military campaigning. “I needed a system that would give scope to a tactician who was smart, and one which would create limitations on how you could approach a combat situation.” Readers had to be able to understand the tactical situation, as well, in order to understand why characters did what they did.

He notes that he wrote the first two books before the World Wide Web appeared, so some of his starting assumptions might be different if he was starting it today.

Ed noted that descriptions of technology often appear within action scenes, creating an odd sense of suspense by delaying the combat climax. David says he thinks this goes back to the writer’s voice.

“This is the natural way for me to tell the story. I can use that as a means to accelerate or decelerate the action tt the same time as it’s serving the function of telling the reader this is why the folks involved are really sweating what just happened or is about to happen…I’m not sure it’s a technique that would work for other writers.”

He thinks he got the balance of hardware descriptions, descriptions of societies and political systems, and development of planets and cultures write because some people tell him they don’t like some of those but like others. Almost everyone says they love the characters. “The characters are the common factor,” he says.

Some restrictions baked into the Honorverse are the impossibility of creating a self-aware AI (something David had dealt with in other novels and didn’t want to repeat), and the impossibility of faster-than-light communication—which means information can only move aboard courier starships.

“That had very interesting and significant implications for military operations. You spend a lot of time going from point A to point B. It also means a huge amount devolves onto the initiative of the station commanders, the task force commanders.” This puts the situation back to about where Earth was in the 18th or 19th century, when nobody could micromanage their forces from Washington or London or Moscow. They didn’t even now there’d been a battle until a courier came back with news, which might be that an invasion force was close behind!

That restriction, David says, is “a big part of the flavor or the books.” It allows him to “cut Honor Harrington loose from the apron strings.”

“She’s constantly aware she represents her Queen and star system, and that informs a lot of her decisions.” That means it’s her job to face overwhelming odds even with little or no chance of success…and that’s one of the things that makes her beloved by those who have followed the books.

Honor, in other words, is part of her character as well as her name (which David knew going). Her second name, Harrington, was a nod to C.S. Forester’s Horatio Hornblower novels, so that she would have the same initials.

There are parallels between the Star Kingdom of Manticore and England, and apparent parallels between its rival, Haven, and the French Republic—but David says that latter paralle is a red herring, that Haven became what it becomes in the books not from a version of the French Republic but from a version of the United States, “if you look at their constitution.” David deliberately used his knowledge to create something that looked like the French Revolution within Haven—but really wasn’t. “I don’t know why people call me sneaky,” he adds.

David says he uses history as a source of building blocks rather thanb an operating model. Although Honor is set in a space-going version of the Napoleonic era, his original thought was that it would more closely follow the Punic Wars, only with Carthage winning. That changed when he realized his version of space combat meant controlling space around a planet meant controlling the planet, and planetary combat would be vanishingly rare.

“But I never intended the model I had built to be anything more than the starting point for cultures that had gone in different directions,” he says, so that readers would say to themselves, “iI know what he’s going to do here,” and then would be surprised when he did something else.

That initial lengthy monograph David wrote for himself about the Honorverse spelled out what would happen in the war through what became Honor Among Enemies. Originally, he planned to kill Honor in what became At all Costs. However, Eric Flint, writing in the Honorverse, wanted something both a Havenite and a Manticoran secret agent could hate enough to collaborate, and David gave him the genetic slave trade. By so doing, he moved a plot strand twenty years forward without really being aware of it, which meant he couldn’t kill off Honor and have her children become central characters as he’d intended.

“I think the readers would have forgiven me because of the way she would have died, the culmination and perfection of what she had lied her entire life to be and to do,” he says. “I won’t pretend I was broken-hearted when I realized I couldn’t kill her off, and not just because the character had become so successful, but because I had come to care so deeply about the character…I’ve killed characters it hurt as the author to write the death scene. This would definitely have been one of them.”

But, he notes, he’s writing military fiction. “Most people’s experience with violence is vicarious,” he says. “We form our views of it through what we see on the news in our entertainment.”

He thinks it’s important for someone writing military science fiction to make it clear that war is an ugly, ugly thing. “It can be a very noble calling to, as Heinlein said, place yourself between your home and war’s desolation, and I think the profession of arms is worthy of deep respect, but…not just bad guys die. If you’re going to be fair with the story and the weight of the story, you have to be willing to kill characters you know your readers love. It’s hard on you and them, but that’s part of what a combat situation is about…war, however exciting it may be, it is a voracious devourer of human life.”

David says the only character he did a detailed sketch of before he began was Honor—and even that wasn’t all that detailed in terms of where she finally wound up. He says he normally starts with a physical description and some aspect of their personality. As the character interacts with other characters and situations he goes back and adds notes.

When he’s writing solo, he adds, he tends not to outline (although he’s done more in the last four or five Honorverse novels just to keep things straight, by creating a detailed timeline). When he does a collaboration, there tends to be a much more detailed synopsis of where the story is going, so there’s no confusion between the two writers.

On his own, he says, “I do tend to have a very clear idea of where a series is going to begin and end, and a feel for what’s going to happen out in the middle, but I’m very much improvising on the theme as I go along in terms of getting from A to B.”

Wever says he can write 5,000 to 7,500 words a day when he’s in the groove. (The most he’s ever done was 34,000 words in a day, and then, he says, he slept for a couple of days.)

Each day, before he begins, he goes back and rereads and revises and tweaks the previous two day’s work, so every portion of th book had been revised and tweaked at least three times by the time he gets to the end. “This gives me an opportunity to strengthen and clean up as I go along, also builds storytelling momentum for the day’s work.”

David shattered his wrist in a fall about twenty years ago, which means today he can only type for about forty-five minutes at best. Since then, he’s been using Dragon Naturally Speaking to dictate his books. One thing he’s noted is that Dragon prefers complete sentences, and so he now has a tendency to think more in complete sentences than when I was writing with a keyboard. “It’s interesting: the way in which you get those photons corralled on the display affects the way in which you write.”

Now the big philosophical question: why does he write this stuff?

“We are storytellers. That’s what we love to do. We love to create and craft stories. We communicate, we share those stories, by writing them down…I am fascinated by history, I am fascinated by the way that people’s personalities work, and how that motivates them to be who and what they are in real life. Telling stories lets me get inside that process…I honestly believe almost anyone could learn to love history if you could just get them to understand it is the greatest, most complex novel ever written. You have all of these characters, all of whom have their own motivations, their own responsibilities. How do they meet them? This is part of what makes us human beings, and defines the difference between responsible conscientious human beings and the predators. I think that I tell stories in part because that’s what I want to look at.

“Obviously, I want to entertain my readership, and don’t want to be in the position of lecturing. But any writer, the moment he or she begins to write, steps up onto a soapbox. If I present a character who would be unsympathetic to you under normal circumstances, but I get you inside that character…the character’s views might not be those you would espouse on your own, but you discover that you like this character…then I have made those contrarian views more accessible to you, and I think that’s something we are, especially these days, in sad need of.

“That’s why I play fair with the bad guys in the books. They are decent human beings, even if they come from a different value system…

“To me, that’s what being a human being is all about me. To me, good storytelling is about the human condition. Science fiction is a technological age’s fairy tale. It’s inspiration, its cautionary, it’s explicative, it’s all of those things…instead of using demigods and demons and what not, we’ve got scientists and cyborgs and computers, but we’re looking at the same issues, the same questions: what makes us human, and what is involved in living up to your responsibilities as a human.

“You can see that in Heinlein, in all really good science fiction.” He recalls Heinlein writing that, “Greater love hath no man than a mother cat dying to defend her kittens.”

“It’s a very profound statement that cuts to the heart of what it means to e human. And I think that’s what I write about.”

Weber concludes, “It’s been a heck of a ride the last thirty years. I’ve been very fortunate in how well the books have done, and I’ve been very fortunate to be allowed to do something I love to do, and actually get paid for it.”