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An hour-long chat with Barbara Hambly, New York Times-bestselling author of fantasy and science fiction, as well as historical novels set in the nineteenth century, about her creative process.
Since her first published fantasy in 1982, The Time of the Dark, Barbara Hambly has touched most bases in genre fiction: her most recent vampire novel is Prisoner of Midnight (Severn House, 2019) and her most recent historical whodunnit, Lady of Perdition, continues the well-reviewed Benjamin January series.
In times past, she has written Star Trek (TOS) and Star Wars tie-in novels (Ishamel, Crossroad, Children of the Jedi), and did scripts for Saturday morning cartoons. In addition – when she can – she writes short fiction about the further adventures of characters from her fantasy novels of the ‘80s and ‘90s, which can be purchased on Amazon (Gil and Ingold from the Darwath series, Antryg and Joanna from The Silent Tower, John and Jenny from Dragonsbane, plus a couple of Sherlock Holmes tales “for the hell of it”).
She teaches history at a local community college, and practices iaido, costuming, and painting. Now a widow, she shares a house in Los Angeles with several small carnivores.
The (Lightly Edited) Transcript
So, welcome to The Worldshapers, Barb.
Well, thank you. Thank you. Thank you for asking me to be on.
Well, it was…I ran into you, I guess, at World Fantasy, I was sort of, you know, keeping my eye out for people I wanted to talk to. And I thought, hey, there’s somebody. So I’m glad you said yes.
I think that’s the only time we’ve met, actually. And we didn’t really meet, just sort of chatted there at World Fantasy, but I’ve been familiar with your work for a long time and currently reading, I haven’t quite finished it, but Stranger at the Wedding is the one we’re gonna talk about today as an example of your creative process. So we’ll get to that in a little bit.
But I always start by taking my guests back into the mists of time and finding out how you got started, became interested in writing, how you got started writing, and also just a little bit of your biography, which is kind of an interesting one. So, where did you grow up and all that sort of stuff? And how did you get interested in writing? Was it through reading books like most of us?
I suppose it must have been. But I remember, even before I learned to read, I was storyboarding stories. I would, like, draw the characters in a storyboard form. And I remember doing that when I was about four. So actually, I think my desire to tell stories predated learning to read. I was fortunate enough to grow up in a household where my father was a great reader. He always had fiction. He loved the Edgar Rice Burroughs Mars series, he was a great fan of Zane Grey. He liked adventure stories. He liked biographies. He liked history and when we were small children…my mother is not a great reader, but she was a very conscientious mom. And I think she looked up lists of books that had won the Newbery Award or had won children’s book awards, and she made sure that she read these to us. So we were always surrounded by an atmosphere of storytelling.
And in your, we mentioned Stranger at the Wedding, you have some pictures at the back of that of your family from when you were little, as well. So, I think I can picture your mom and dad because I have a picture of them right in front of me.
Oh, my gosh.
And a picture of you as a very little girl.
So you were growing up on a Marine base, it says.
Yes. Well, my dad was in the Marines when he met my mom. He met my mom immediately after World War Two ended, and they got married, and he was stationed in San Diego, which is where all three of us kids were born. And then he was transferred out to a Marine base in the middle of the desert in a place called China Lake. And my earliest memories are of being in…and of course, at that time, housing of any kind was very much at a premium because the war was just over, and you were in the first wave of the baby boom. And so, on the Marine base out in the middle of the Mojave Desert, the married officers’ housing was a trailer park. And my poor mother got to keep house in a 30-foot single wide with three children under the age of six. And my earliest recollections are of living in the trailer, and you’d step out of the trailer, and because it was all brand new, there was nothing. There was a little concrete path around the outskirts of the trailers, and beyond that, it was desert. It was, you know, if you watch any of the 1950s science fiction films like Them or…all of those 1950s science fiction films, they’re all in, like black and white and they’re out in the middle of the desert, that’s where I grew up.
That was immediately what I thought of when you were describing it.
They were all filmed out in the Mojave Desert because it is within a couple of hours’ driving distance of Los Angeles.
And then, when did you actually start writing your own stories?
Well, as I said, I started storyboarding stories. I would storyboard stories about my toys. When I was four, I started writing stories as soon as I learned the alphabet. I would write…one of my favorite series was the Oz books, and, I’m sure everyone knows, in addition to The Wizard of Oz, there were about 25 or 30 other books about characters in Oz. And for me, it was like fan fiction. I would then write my own Oz stories. When I became enamored of Sherlock Holmes in the third grade, I would write my own Sherlock Holmes stories. And writing was just something I did. It was always completely natural to me. Storytelling was always the thing that I did. It was the thing that shaped my life.
Did you share your early writing, like with your friends or schoolmates or parents?
In seventh grade, I mentioned to some of the other students in my class that I…at that time, I was writing Edgar Rice Burroughs takeoffs…and I got teased so badly that that was the last time I told anybody that I wrote until I got published.
I always ask that because I get such different responses to it…the people who never shared, and people who were like me, and I was handing out copies of it to my classmates in high school. “Here read this. Read this!” So that’s why I always ask.
Actually I did write…starting in high school, I would write Man from U.N.C.L.E. stories. I would write…I wrote this unbelievably long—it was like a hundred-part—story about the Beatles. And those I did share with two of my classmates. And then when Star Trek came along…I was kind of a weird kid and I did not have many friends and I had been teased and bullied to the point where I was not…I didn’t tell most people what was going on with me. But in high school, I had a couple of very close friends and we were the only people in the high school who were tremendous Star Trek fans. It was the first season, the first time, the original series, it was 1966, Star Trek came on and it hit the three of us like a ton of bricks. And so, we all started writing Star Trek stories and I wrote simply for the audience of my two friends. One of them would write stories for me, for our little group, and these were the only people who knew that I wrote because I pretty much didn’t talk to anybody else in high school.
Were there any teachers who were, you know, helping out or supporting you along the way, or did you kind of keep it from them, too?
Oh, God, no. There were teachers that made a tremendous impression on me, but I certainly would not share with any of them or with anybody else the fact that I wrote.
Well, when you got to university, you didn’t study writing, you studied medieval history and went so far as to get a master’s in. What drew you into that?
Well, I,,,when I originally…because I always knew I wanted to be a writer, and when I got into UC Riverside, it was 1969 and I thought, If I want to be a writer, I should be an English major. And I went to my first creative writing class, I was like eighteen years old, sitting in the front row with the class. And there was this woman up in the front of the class, the instructor, with a size eleven mouth and an ego to match. And here am I, sitting in the front row, thinking, You tell me what you’ve published and then I’ll listen to you. As far as I could tell, the class was supposed to be in creative writing and it actually seemed to be a class in how to write bad Flannery O’Connor knockoffs. And that was the last creative writing class I ever took.
Now, when, many years later, for purposes of the plot, I needed to find a teaching job, I went to the local community college and applied for a teaching job in creative writing. And at this point in time, I had published about sixty novels. So I applied. I said, you know, I’m a professional writer. I’ve published about sixty novels. And they said, oh, we can’t hire you because you don’t have an MFA—because after that creative writing class that I took way back in 1969, I’d switched over to being a history major. So, when I’m applying for a job teaching creative writing, they said, “We can’t hire you to teach creative writing because you don’t have an MFA. And even if you did have an MFA, if the English department hired you, they would hire you to teach remedial English because all of the creative writing classes are taught by the tenured full-time English professors because it’s more fun for them.”
And I thought, Oh, good. You have people who want to learn to be a professional writer, and instead of hiring a professional writer to teach them, you have them taught by an academic who has never published any fiction in his or her life because it’s more fun for them. And then they said, “You want to teach history?” And I said, “Absolutely.”
When I…back in 1969, as I said, when I finished my first and last creative writing class, I switched over to getting a BA and then an MA in history, which served me very well, it got me a nice job teaching history, which I still have.
And has it fed into your writing, as well?
Oh, God, yes. I…well, I’ve always been interested in history. My dad was a history buff. I had some excellent history teachers in high school and in university. My best friend in high school was a history buff. She is still my best friend and she is still a history buff, and history always felt very natural to me. I always wanted to write in historical settings or fantasy settings, but it’s the same thing, you’re world building in both in both genres. And I think that’s one reason why I’ve written in both genres, is it’s about worldbuilding. It’s about going to another world, going to a world that is not my own.
You know, in creative writing classes, they would always say, “Well, write what you know.” And…for one thing, nobody would be interested in the adventures of a fat pimply virgin in Southern California in the 1960s. I wasn’t even interested in them. So I wanted to be somewhere else. I wanted to go somewhere else. J.R.R. Tolkien’s writings hit me like a ton of bricks. I read the first unauthorized copy of The Two Towers. And it’s like, “This is what I want. This is the world I want to be in. This is what I want to do.”
And you got there. But you did a few other things along the way before that first novel came out, didn’t you?
Yes, yes. Well, from the time I was…actually, junior high and in high school, I—going back to “write what you know”—always in the back of my head was, I knew I wanted to write adventure fiction. And I knew that if I was going to do this, I was going to…there were certain things I would need to know. When I was fifteen, I joined a fencing class. I was always interested in historical costuming and that got me among the historical costumers, for things like, you know, stuff your characters need to know. What is it like to wear a corset and a bustle? What is it like to be in a physical fight with someone? I started taking karate in 1974 partly so that I would know what it is like to be in a physical fight with someone, which is not something that girls generally do, unless they go to a high school and are bullied by the Mexican girls.
And of course, once I got into karate, that was a whole new world. The martial arts has been a constant in my life since 1974. But it blends in with this. I do it because I love it. I also do it because if I’m going to have a hero who is wielding a sword, I want to know how to wield a sword. We would go horseback riding, and partly in the back of my mind is, If I’m going to write stories about people who get from place to place on horses, I better learn how to ride a horse.
So, there’s always this moving back and forth between real life and the fictional world inside the books, and the fact that I am going to need this information if I am going to produce these stories effectively. That’s one of the reasons that I’m drawn to history, partly because I just love history, partly because I need to know how non-industrial societies work. I need to look at stuff that has happened in history and go, I can use that. There will be times I’ll be in conversations with my friends and someone will be talking about the behavioral enormities being practiced by their sister or their brother or whomever, and I’ll be sitting there thinking, I can use that!
So tell me about the first novel and how that came about, Time of the Dark, which kind of launched your career.
Well, when I started taking karate, I quit writing for about two years. And I had a dream. And the dream was…one sequence at the beginning of Time of the Dark where the young screw-up hero first sees the dark ones, sees this creature, and because they can change their size it’s slithering in through, like, a crack in the wall, and he is shocked and horrified. And he goes to the old wizard who’s in the next room. And the wizard said, “Oh, did you think they’d be human?” And from that dream, then I extrapolated how did this situation come about and extrapolated what came from that situation.
I originally wrote it up as a single volume. I sent it to…I went to the library and got a list of publishers who were taking fantasy. I sent it to Lester Del Rey, who was the editor at Del Rey Books at the time, and he sent me back this long letter, basically telling me that I had enough material there for a trilogy, extrapolating from this, extrapolating from that. “Can you pursue this? Can you pursue that?” And I sat down for the next almost a year. Again, I didn’t tell anybody I was working on this. And I sat down and expanded it into a trilogy, sent it back to Lester, and, you know, everybody has told me it’s really hard to break into the field. But I guess in that year, they were really looking for trilogies, because I sent this manuscript back to Lester and I got a reply in two weeks saying, “We’ll take it.” And then I went, “Oh, dang, I don’t have an agent. I’d better get an agent.” And immediately had to hunt around for an agent who is…she’s still my agent.
It’s always easy to get an agent when you’ve already sold the book.
Oh, absolutely. And she immediately got me a better deal on the contract. But I didn’t…my experience with writing the book and getting accepted was…I don’t think it’s typical.
As far as I can tell from talking to authors, nobody has a typical story. It’s different for everybody. Mine was very different as well.
Well, we’re gonna talk about Stranger at the Wedding as an example of your creative process. But before we get to that, I did just want to ask you about some of the other writing you’ve done, the Saturday-morning cartoons and the Star Wars and Star Trek books. How is that different from writing your own material?
And did you enjoy it?
Oh, tremendously. Tremendously. Of course, as a tremendous Star Trek fan, when they started coming out with the Star Trek novels, my agent got in touch with me and said, “They are looking for Star Trek novels, and they were looking for Trek novels, of course, because everybody was writing fan fiction for Trek. And at that time, my agent told me, “They’re looking for Star Trek novels written by authors who have already been published.” Because at that time they didn’t want to have to teach somebody how to write. They wanted a manuscript by somebody who knew how to write a manuscript. And so the editor at that time was looking for…”Hey, do you have something? Do you have a Star Trek novel in your drawer? We know you’ve got a Star Trek novel in your drawer.” And as it happened, I did. And that was Ishmael, which was infamous for other reasons. And then I wrote another two Star Trek novels.
And the thing about the Star Trek novels was, they kept changing the approvals loop. Part of the problems I had with Ishmael, the first of the of my Star Trek novels, was that book went through about five editors. And the editors at the beginning of the process were telling me things that later turned out were not true, were not correct. And the mess had to be cleared up by an editor, you know, five editors down the line. But this was a problem with the Star Trek novels: they kept changing the approvals loop. So, something would get approved, and then by the time I turned in the manuscript, they said, “Oh, no, we don’t want that.”
Ghost Walker, which was the second one, I’d turned in the outline saying, you know, the plot involved Captain Kirk being in a serious romantic relationship with the guest star. And by the time I turned the manuscript in, they said, “Oh, we don’t…we can’t have Captain Kirk being in a serious romantic relationship. “And I said, “That’s fine. You don’t have to publish the book, but you have to pay me for it, because that’s the first line on the outline, saying Captain Kirk is in a serious romantic relationship with X, Y, Z.”
And, you know, when I turned in the outline for Crossroad, which was the third of my Trek novels, they said, “Mr. Roddenberry doesn’t want Trek novels on that subject.” And I said, “OK.” And eighteen months later, when Mr. Roddenberry was no longer in the approvals loop, I got a phone call from the editor saying, “You still want to write Crossroad?” And I said, “Oh, yeah.” But of course, it was eighteen months later, so I had written this outline and I’d kind of forgotten how things happened. So at one point, the outline said, “And then these five aliens take over the entire Enterprise.” And as I’m typing along and I reach that point of the outline, I went, “God, how they do that?”
Well, it’s just like a writing exercise you set for yourself.
Oh, yeah. Yeah. The Star Wars…I was friends with Kevin Anderson, Kevin J. Anderson, who was doing the first two of the Star Wars anthologies of short stories, Tales from the Star Wars Cantina and Tales from Jabba’s Palace. And he introduced me to Betsy Mitchell, who was in charge of that first bunch of Star Wars novels that were being done by Bantam. And then she asked me, you know, would you do a Star Wars novel? And I was so delighted. I loved Star Wars. I loved the original Star Wars. I love the original Star Wars.
In the early days of my writing, I was…you don’t make a lot when you’re starting out. In fact, you make almost as little as you make now. So at the time, I had a part-time job at the library. And friends of mine in Los Angeles…one of my friends in Los Angeles was a fellow named Michael Reeves, who was the…he was sort of the center of a group of people who were writing Saturday-morning cartoons. And this was in the late ’80s, when you had just gotten…Transformers had just come on and you had all of these, what the writers called “poster shows,” which means that the toy company would put out a line of vehicles, and then they would hire an animation company, to…at that time, seasons were very long. A season would be, like, forty-eight episodes. And they would say, “We’re going to do a season of, essentially, yes, it’s the adventures involving these vehicles that you can buy down in the store as a toy.” And the vehicles would always transform into something else.
The first of these, the animation company that was doing them was called DIC.
And so they decided—because, of course, there was no Writers Guild that dealt with animation. This was all cheap non-union—they called us together for a…called all of the sort of bush-league science fiction writers in the Los Angeles area, called us together, and they explained that they needed scripts and they were paying…I think it was a thousand bucks a script, which to me was phenomenal. It would mean I could quit my job in the library.
And the fellow explained to us that the show was called Jayce and the Wheeled Warriors. And it was about…it involved giant metal vines growing between planets. And these metal creatures would grow out of metal flowers on the vines, and the vines would go between planets, they would go between galaxies, they would go between solar systems. And these evil vehicles would trundle along these metal vines through outer space and strip mine every world in the cosmos for resources. And our brave little band of adventurers were fighting against these guys, in the vehicles that are being sold in your local toy store.
And somebody in the group of science fiction writers said, “Planets turn on their axis, and planets orbit different stars, and all the stars in the galaxy are moving away from one another, and you cannot have giant vines growing between planets.” And the story editor said, “I have explained this to the producers of the show. I have explained this to the toy company. I have explained this to the administration of DIC. Now write the scripts.” One fellow got up and walked out. But I thought, It’s basically the cast of Star Wars meets the Daleks. I can write Star Wars dialogue. I can write Dalek dialogue. No problem. So I worked on a number of shows for DIC. And it meant basically that I had more time to do my actual writing.
Well, and turning to the actual writing, let’s talk about Stranger at the Wedding, which is the one you’d suggested. I guess, quickly give a synopsis of it that doesn’t spoil anything for people like me who haven’t gotten to the end of it yet, although I’ve read quite a bit of it.
Oh, and, of course, I haven’t been able to reread as much of it as I would have liked to, due to circumstances beyond my control. But the way the story came about in my mind, is that…in the story, the young heroine, she is at Wizards’ College and she’s the daughter of a wealthy merchant family back in the big city. And her younger sister is going to have an arranged marriage with the business partner, a business associate, of their father’s. And Kyra, the heroine, has been essentially disowned by her family because she is in training to be a wizard. And Kyra starts getting omens and prophetic dreams, saying that her younger sister is going to die on her wedding night. And Kyra returns to her family, who are horrified that she’s shown up, and she has to stop the wedding until she can find out what’s happening. And so she’s basically in a position of throwing all kinds of Murphy hexes, everything that could possibly go wrong with the ceremony goes wrong. Mice infest the church and, you know, the bishop breaks his ankle and all this horrible stuff takes place. And then she falls in love with the groom. Her younger sister, it turns out, is in love with one of the kitchen help. And Kyra falls in love with the groom while still trying to ascertain who has put a curse on the wedding, who is attempting to kill her lovely eighteen-year-old sister, and why? What’s going on?
I’m enjoying it very much, as far as I’ve gotten into it. I think the main character’s very appealing. What was the, kind of the seed for this story? And is that typical of the way the story ideas come to you?
There are basically two seeds. The first of the seeds is the fact that…I’m trying to think of a tactful way of saying this. My mother tended, tends, to drag me over to total strangers and say, “This is my daughter, the author.” Or say to people at church, you know, the people at church say, “Oh, you know, my daughter wants to write books.” And Mom will say, “Oh, she can come and talk to Barbara.” And it’s like, Barbara is…Barbara has other things to do. And I’ve always found this being touted very…it makes me very uncomfortable. I know it makes my mother very happy, but it makes me very uncomfortable. So part of the seed for that, is, you know, all of those times when I would go home for Christmas and Mom would say, “Why don’t you talk to the next-door neighbor’s daughter who wants to write books?”
And the other seed was, I was invited many years ago to a workshop on neurolinguistics, and they asked me, the fellow who was facilitating the workshop, said, “What is your process of putting together a story?” And I said, “I’ll usually start with the characters.” And he said, “Well, why don’t you explain how you put together a story?” And he said, “Characters…let’s take Spencer Tracy and Katharine Hepburn.” And I closed my eyes for a second and tried to think of a fantasy that ,if you made it into a movie, it would with Spencer Tracy and Katharine Hepburn. And then, I produced the entire plot in, like, one paragraph, just sitting there. I had never had this idea before, and I came up with, oh, “The older sister is in Wizard College and the younger sister and she finds out that she has a curse and she’s gonna die on her wedding night and she comes home and falls in love with the groom.” And everybody in the workshop, including the facilitator, just sat there, because there was no process. It’s like, “You give me the characters and I’ll give you a fully formed plot.” That’s…you know, that’s a trick like swatting a fly out of the air. You can do it once by chance. And everyone goes, “How’d you do that? I have no idea.”
So what’s more typical?
What’s more typical? Generally, it does start with characters. The vampire series…I wanted to put together a story of…no, I was waiting for my sweetheart to arrive because he and I were gonna go someplace and I was lying on the couch in his house and just started thinking about a vampire and a living person having to go into partnership because someone is killing the vampires of London. And the vampires, they can’t go out in the daytime to be detectives, so they have to hire a detective. And I thought, that’s really good. And this was the start of Those Who Hunt the Night, which turned into the vampire series, because I really liked the characters. But it started out with, “What do vampires do when somebody is…when there’s a vampire hunter on their trail?” And so, they have to hire a living guy, and he knows they’re gonna kill him when he solves the case. And then from there, just going, “OK, how do you get into this situation, how do you get out of this situation?” It was exactly the same with Time of the Dark. I had this single scene in my mind. “How did we get into this scene? Where do we go from this scene?”
So it is very much like a seed that grows.
What’s your actual planning process look like as you get started to write. Do you do a detailed outline? Do you just start? How does that work for you?
Oh, no, I’m an outline girl. My outlines are usually…four or five pages, single spaced? And they’re very…they’re sort of loose. It’s…details get changed, scenes get changed, but I always have to know, if we’re starting from here, we’re going to end up here. I don’t write very well not having a goal. I have to know where we’re going. I can’t just set sail because I’ve read too many books that quite clearly did not have an outline, and that type of structure does not appeal to me.
Do you find yourself diverting from the outline as the story takes on its own pathway sometimes?
Somewhat, yes, but never, never galloping off into another direction. Mostly because I know the character well enough to know where we’re going, where his or her personal development is going. The only exception to that was Dragonsbane, where up until I was close to the end of the book, I did not know whether…at one point the wizard, the heroine, transforms herself into a dragon. Basically, she falls…she is…the man that she loves is a dragonslayer. And when they go to slay this dragon, she ends up falling in love with the dragon. And at the end of the story, she transforms herself into a dragon. And then she realizes, “I need to go back to the man that I love.” And up until the end of the story, I didn’t know whether she was going to just continue to live on as a dragon or whether she was going to step down from that and return to the man she loves. Basically, she’s choosing between becoming and being a dragon or remaining human and experiencing the depths of human love. And once I had done that, I realized the story is not a story about dragon slaying. The story is a story about love. And then, of course, I…actually through the whole process of writing the book, I needed to come up with a hero who would be emotional competition for a dragon. And I have continued to write the further adventures of this couple, John and Jenny. Occasionally the dragon reappears, but it’s…I’ve continued to write novelettes about them for sale on Amazon as downloads.
What does your actual writing process look like? Do you write longhand? On a typewriter? On a computer at home? In a coffee shop? How do you like to work?
I must…there cannot be anyone else under the same roof. And I have set up my entire life to be solitary. I’ve always liked solitude. I cannot write if there was someone else in the house,
Definitely not a coffee-shop writer.
I am not a coffee-shop writer. I write at a desk. I have a desktop computer. I…when I’m writing first draft, I can usually only work a couple of hours a day because it is just so exhausting. At the moment, it’s difficult to forge out the time to write because I teach at a community college. I only teach one class a semester, but we were informed at the beginning of this month that we had two weeks to switch all of our classes over to online classes, and that takes a tremendous amount of time and I have been waking up very, very early in the morning to buy myself enough time. I’m working on first draft of a project and I’m tired most of the time.
Under normal circumstances, would you consider yourself a fast writer or slow writer or just-right writer?
I…sometimes I think I’m fast, sometimes I think I’m slow, I have no idea.
That sounds familiar. And do you…you’ve talked about a first draft. So, do you do a complete draft and then go back and revise from the beginning? What’s the revision process?
Yes. I do a complete draft and then go back and revise from the beginning.
What sorts of things do you find yourself working on in revision?
Sometimes, as I’m getting close to the end of the story, I realize, “Oh, that is a more efficient way to solve the problem, so we’re gonna have to go back and rewrite whole chapters.” Other times it’s just word choices or sentence structure. Other times I will look at it and go, “This person’s motivation is not clearly conveyed, this person…I need a scene between these people to clarify, either a plot point or some motivation.” The first revision is always the hardest and the most challenging and the most tiring because that’s where the heavy work gets done. Then there will be a second, not quite so heavy revision. And from there, it’s usually just progressive polishing.
There was one of the Benjamín Januarys, the historical murder mysteries, which, of course, take place in the American south in the 1830s, 1840s. And one of these involved…it’s like, my hero is black, of course he’s involved with the Underground Railroad. And I wanted to do a murder mystery that took place against the background of the Underground Railroad. And about halfway through, I reread what I had written and…the plot, the themes in the book, were very, very dark. Basically, the book was heavily based on slavery and rape. And I went, “Nobody’s gonna be able to read this. How do I lighten it? How do I make it readable?” And I thought, OK, we’ve got this going on one side. But my hero is dealing with… and I had to put in a lighter element simply to to balance out that darkness. And I thought, OK, my hero is working out of a circus. So we’re going to deal with circuses in the 19th century. And we’re also going to deal, because the circus is in town, there’s also a revival meeting in town. So that lets me cut away from this horrible stuff that is happening connected with the murder. And, yeah, we’re going hunting for clues, but we’re doing it against the background of the circus, we’re doing it against the background of this fake preacher who is basically trying to bilk the congregation out of their money. And that lightened the weight of the book. In my opinion, it made it readable.
I’m going to guess that you’re not somebody who uses beta readers, but then it goes on to your editor directly from you. Is that correct?
What kind of editorial feedback you usually get?
I have published close to seventy novels. So I’m…I don’t get much editorial feedback because I’m good at my craft. The times when I do get more editorial feedback is if ,for whatever reason, I did not have time to smooth the differences between two drafts and they’re catching things that I would have caught if I had had the time to do one more draft. And this is something that I have developed as time goes along.
remember there was one book where they got someone as a copyeditor and she came back saying things that were completely against, that ran completely contrary to the point that the book was making. “Well, she shouldn’t say this. She should say that.” And I. emailed the acquisitions editor and said, “Do I have to change things according to what this person said?”, and they made sure I never got that copyeditor again. Beta reading has to be by somebody that you really trust.
Yeah, it’s not something I’ve ever had because I’ve just never lived…I was always off kind of away for many other writers and…I had a couple of people by mail that I used to share manuscripts with way back before email. But I’ve never used beta readers. And I’ve talked to many people who do, and sometimes I think maybe I should, but I think I’m too set in my ways to change to that now.
And I don’t really know who it would be anyway. Well, I want to move on to our closing question, because we’re getting up here on the time, and that’s the big philosophical question, which is why do you do this? And why do any of us do it, why do any of us write, but why do you write and why do you write the stuff you write?
And the reply is, because I can’t not do it.
A good friend of mine once said there’s two basically two kinds of writers. And he said type A, the first kind of writer, is the writer for whom writing is the safe place—you go down into the dark of your mind and you see all of these things, and that’s where your safe. And he said this type of writer usually starts as a child.
He said the other type of writer is the one for whom writing is the dangerous place. And you go down into the dark of your mind and you see all of these things and it scares the bejesus out of you. He said this type of writer usually starts later in life, and it was his personal opinion that this is why you sometimes find writers who have substance abuse problems.
Because if you are a writer, you have to write. There really is no question about why do you do this. You do this because you do this. Because you can’t not. It is indeed a calling. And nobody in their right mind would be trying to do this, trying to make a living in this fashion, if there was any other way to be.
Fortunately, I was the first kind of writer. I started as a child. It is the safe place. It is the wonderful place. It is the place where I am happiest. I was married to a man who was the other kind of writer, where it was the dangerous place, it was the terrifying place. But he couldn’t not do it. Because he just…we are what we are and we can’t change what we are, and if we try, it hurts us.
And on that note…I’m the childhood, it’s a safe place writer myself…
…what are you working on now? Aside from putting your courses online.
My publishers in Britain asked me to conclude the vampire series, to finish off the vampire series, and asked me to start another historical murder mystery series. I am working on that, but I would rather not talk about that until I’m a little bit further on with it. I realize this is not a good thing to say, but I, I just, I would rather…I’m working on another historical murder mystery series, and I would rather not talk about that until I get a little bit of a better feeling of what I’m doing.
Still, lots to look forward to.
Oh, yeah. Yeah.
And where can people find you or find out about you online?
I have a Facebook site, Barbara Hambly, writer. I have not posted on my Livejournal site in a long time, simply from lack of time. Those are the two best places.
If you want to…if you were a fan of the fantasy series that I wrote back in the ’80s and ‘90s, the Darwathseries, the Dragonsbane series, the Sun Wolf and Starhawk series, if you’re a fan of those series, I continue those series in the form of novelettes. I’ll write novelettes about those characters. They’re available on Amazon for five bucks a throw. And a lot of people, they…you know, with a with a series, you like to know what the people are doing. You’d like to know where those characters are now. And I will be continuing the vampire series as novelettes on Amazon. So in addition to transferring all of my history class on to online and working on this new historical novel series, I’m also trying to fit in enough time to work on these, what I call the further adventures. So it’s busy times.
Well, thanks so much for taking time to talk to me in the midst of all that. I enjoyed that. I hope you do, too.
Thank you so much. And I’m sorry if I talked too much.
There’s no such thing.
But thank you so much. And we will meet again.