While he is best known for horror (and is one of the most successful indie horror authors in the world), Michaelbrent Collings has also written internationally-bestselling thriller, fantasy, science fiction, mystery, humor, young adult, and middle grade works, and romance.
In addition to being a bestselling novelist, Michaelbrent has also received critical acclaim: he is the only person who has ever been a finalist for a Bram Stoker Award, a Dragon Award, and a RONE Award, and he and his work have been reviewed and/or featured on everything from Publishers Weekly to Scream Magazine to NPR. An engaging and entertaining speaker, he is also a frequent guest at comic cons and on writing podcasts like Six Figure Authors, The Creative Penn, Writing Excuses, and others.
An hour-long chat with Mark Leslie Lefebvre, author of the Canadian Werewolf Series as well as many non-fiction books drawing on his quarter century of experience in writing, publishing, and bookselling.
Although he is still afraid of the monster under the bed, Mark Leslie (Lefebvre) regularly writes about ghosts, monsters, and other things that go bump in the night with speculative fiction that has been described as fitting on an episode of The Twilight Zone. He has been writing since the mid 1980s and had his first short story published in 1992, the same year he graduated from university and started working in the book industry.
His first published horror story, “Phantom Mitch” received Honorable Mention in The Year’s Best Fantasy & Horror and his first non-fiction paranormal exploration, Haunted Hamilton earned him a nomination for a Hamilton Literary Award.
Mark is the author of more than thirty books, the editor of a number of anthologies, a series of books about the business of writing and publishing, and, most recently, the “Canadian Werewolf” series of novels. He lives in Waterloo, Ontario where he splits his time between writing and as a book industry representative and consultant.
An hour-long interview with F. Paul Wilson, the award-winning, bestselling author of 60 books and nearly 100 short stories spanning science fiction, horror, adventure, medical thrillers, and virtually everything between.
F. Paul Wilson is the award-winning, bestselling author of 60 books and nearly 100 short stories spanning science fiction, horror, adventure, medical thrillers, and virtually everything between.
His novels The Keep, The Tomb, Harbingers, By the Sword, The Dark at the End, and Nightworld were New York Times Bestsellers. The Tomb received the 1984 Porgie Award from The West Coast Review of Books. Wheels Within Wheels won the first Prometheus Award, and Sims another; Healer and An Enemy of the State were elected to the Prometheus Hall of Fame. Dydeetown World was on the young adult recommended reading lists of the American Library Association and the New York Public Library, among others. His novella “Aftershock” won the Stoker Award. He was voted Grand Master by the World Horror Convention; he received the Lifetime Achievement Award from the Horror Writers of America, and the Thriller Lifetime Achievement Award from the editors of Romantic Times. He also received the prestigious San Diego ComiCon Inkpot Award and is listed in the 50th anniversary edition of Who’s Who in America.
His short fiction has been collected in Soft & Others, The Barrens & Others, and Aftershock & Others. He has edited two anthologies: Freak Show and Diagnosis: Terminal plus (with Pierce Watters) the only complete collection of Henry Kuttner’s Hogben stories, The Hogben Chronicles.
In 1983 Paramount rendered his novel The Keep into a visually striking but otherwise incomprehensible movie with screenplay and direction by Michael Mann.
The Tomb has spent 25 years in development hell at Beacon Films.
Dario Argento adapted his story “Pelts” for Masters of Horror.
Over nine million copies of his books are in print in the US, and his work has been translated into twenty-four languages. He also has written for the stage, screen, comics, and interactive media. He resides at the Jersey Shore
The (Lightly Edited) Transcript
So, welcome to The Worldshapers, Paul.
Well, glad to be here.
You know, I like to give people who, you know, haven’t done much an opportunity to be on the show once in a while.
And maybe I can help out your career a little bit. Well, it’s nice to meet you. We’ve never met in person, but your name sort of popped up in something I was reading, and I thought, “That’d be a great guy to talk to.” And I have to say that I have a very strong memory of reading The Keep when it first came out, back in 1981, was it, I think?
Yeah, it was.
And I also remember seeing the movie, and I do remember thinking that it was rather incomprehensible but pretty to look at. So, yeah, I think that was an accurate description. So, we’re going to talk a little bit about your upcoming collection, which will come out about the same time as this goes live. But first, I want to do what I always do with my guests and take you back into the mists of time to find out how you got interested in this kind of stuff and how you started writing. How did that all come about for you? Where did you grow up, and when did you start reading this kind of thing, and when did you start writing it?
Well, I grew up in a classic middle-class family, mother, father, sister, brother, dog, cats. My father was an immigrant from England in, oh, I guess he was age eight in the ‘20s and I . . . .you know, he never encouraged me toward science fiction, but he never discouraged me. And but it was something I always gravitated to. I mean, when we had that little TV set with, maybe it had an eight-inch or a 12-inch screen, I remember King Kong coming on, the trailer for King Kong, when they re-released it in the ‘50s, and I was just was absolutely fascinated with that. And then came The Beast from 20,000 Fathoms. And I was on the set. I would sit there and watch the TV, and we had three channels then, and I’d be switching back and forth, praying that somebody would show it again. And finally, you know . . . and I drove my parents crazy. At that time, polio was a threat. The vaccine hadn’t come out yet. And they didn’t want me to go to the movies. It was a summer movie, and summer with other kids was where you got polio. And they said, “You want to end up in an iron lung?” And I said, “I would take that risk to see this film.” And finally, I came up with the idea, hey, drive-in. I’ll be the only one, my family will be the only people I’ll be exposed to, so then they couldn’t object anymore. My father took me, and it was just a wonderful experience to see that on the big screen. And that sort of really cemented my love affair with monsters and science fiction. EC Comics were big at the time. It was before they were censored, and they used to have . . .
Tales of the Crypt, that was EC, wasn’t it?
Yeah, Tales of the Crypt, but they also had the science fiction ones where, you know, they’d have a dinosaur. Maybe drawn by Frazetta, sometimes it was drawn by Frazetta, and Williamson on the cover and on the side, they’d have a rocket ship taking off. I mean, those are my two triggers. I could not buy them. And so, the EC Comics and Uncle Scrooge comics were–because Uncle Scrooge stories were full of imagination—those were my reading staples as a grammar school kid. And then I started reading science fiction and finally got to the point where I said, “I’d like to try to write some of this.” And it took me years, years of rejection, before John Campbell finally bought my first story in 1970, so that’s 50 years ago this year, by the way, and by that time I was hooked. I couldn’t not write. And it’s become an obsessive-compulsive disorder. You know, if I’m not writing, I’m thinking about writing. I fall asleep at night working out plot twists or plot problems. It’s just an integral part of my life. There’s no thought or no possibility of not doing it anymore.
So, did you start writing when you were still in school and as a kid?
In college. Oh, I wrote stories, and I submitted them, you know, like werewolves and haunted house stories, and I submitted them to, like, the school paper, and stuff like that. And they always got rejected. But in college, I started very seriously. I just wanted to get published once. I figured, “If I can just get published once, I’ll be a published writer, and after that, I can do whatever I want.” And, you know, I was going to be, I planned on being a dilettante writer, but in the four or five years it took me to tell the first story, I just became hooked on it, on the process. And I was sure that my, you know, my stories were being rejected because nobody knew my name. You know, if I had Robert Silverberg or Harlan Ellison on the byline, they’d buy this story because it’s great. And after I finally did start selling, I went back to see if I could resell any of these things, or resubmit any of these things, and they were terrible. They were awful. And I just realized they got rejected for very good reason. I never had a writing course. I was just, you know, going by trying to write something I would like to read. Imitating Heinlein . . . I couldn’t imitate Ray Bradbury, that was beyond me, but I could imitate Poul Anderson, I could imitate Robert Heinlein. At least, feel that I was trying to imitate that. Bradbury was too verbose and too picturesque for me.
You mentioned you didn’t actually study writing. You actually were in medical school, weren’t you?
Yes, yes. When I sold my first story, I was a first-year medical student and got $375 or $365, something like that, you know, five cents a word, which they’re still paying nowadays.
Yes, they are.
So, at that time, I went online, and I did one of those inflation calculators and that’s worth almost $2,500 in buying power today. That’s amazing.
Yeah, there was a time when you could make a living just writing short fiction.
In the pulps and things like that. But I think that time is long gone, unfortunately.
Did you ever do anything . . . like, did you complete your medical degree and ever do anything in the medical field, or did the writing sort of take over?
I was in family practice for 44 years.
So after 20 years in there, around the mid-‘90s, like 1994, I was doing full-time medicine, and basically, I was putting out a novel a year. I’d learned how to do the two of them. But by the mid-‘90s, I had partnered with Matt Costello when we were riding interactive scripts, we were scripting the SciFi channel’s FTL Newsfeed, I was still writing books, and we were writing tie-in books together for the games we had sold, and I just couldn’t do it. I just had to cut back on medicine. I cut back to two days a week, and I stayed at that until I retired at the beginning of 2019. So, I’ve been retired for a year and a half, so . . .
Well, you have written some medical thrillers, but in general, has your medical experience fed into your writing? Do you think it was very beneficial for your writing to have that other side of things going on at the same time?
Yes, well, I’m a big believer in keeping the day job for writers because it keeps you in contact with people. Because I notice now since I’ve been retired . . . well, of course, with Covid. All your social contacts are cut way back, but I used to go to conventions all the time, I love being out with the readers. I love being out with other writers. And so, right now, I’m a shut-in and I . . . you know, that human contact, because basically, even if you have the greatest plot, plots happen to people, so, I mean, you’ve got to have good characters and you can’t create characters totally in a vacuum. You know, you have to know what real people are like and what they talk like and imitate that to some extent. So . . . but also, I mean, writing was also my golf game as a doctor. I couldn’t play golf. It was just, you know, I had golf attention deficit disorder, where after a few holes I’d be saying, what am I doing here? But I noticed that one thing that was recurring in my fiction was the miracle cure. It just pops up again and again, and I think that’s something subconscious, that being a doctor, and being a family practitioner, you know, you have patients you’ve had for a long time, and all of a sudden, they get terminally ill, and there’s nothing you can do. And you just wish there was something that you could do. But you’re helpless. You know, the sixteen-year-old girl with an acute leukemia, I mean . . . you know, she’s gone so quickly, and it just tears you up. So, I mean, you know, The Touch was about miracle cures, even my first novel was called Healer. So, it did influence me, but I did try to stay away from medical themes because that was too much like going back to work. As I said, this is my golf game.
Wait, you did venture and have ventured quite a bit into horror. What drew you to horror as opposed to more straightforward science fiction?
Horror was my first love. You know, I loved the rocketships and all that kind of stuff, but monsters, especially like Godzilla, The Beast from 20,000 Fathoms. I just loved the monster aspect of it. Then they released the Universal monsters films onto TV, and, you know, I was watching Dracula, watching Frankenstein, watching The Wolf Man, I mean, I just loved those things. I built the Aurora models.
Oh, I remember those.
Probably anybody who is in this, you know . . . that was one of the things, when I first read Salem’s Lot, I didn’t know who Stephen King was. I got it from the Literary Guild, my copy. And never once did it mention a vampire was going to be in the book, on the flap copy and the advertisements, never once mentioned vampires. And I’m reading along, and I’m saying, “Oh, you know, the only thing that can explain this is a vampire, but he’s going to cop out because everybody cops out. Nobody has vampires anymore. And then, that kid, I forget the name of the kid who was like, the main protagonist, it turns out that he had built the Aurora models, and I said, “Oh, this Stephen King, he’s one of us.” And all of a sudden, it turned out to be a real vampire. It was like, “Oh, yes!” And so, you know, that that was one of the highlights of the ‘70s, was coming across that novel and absolutely loving it. And then . . . King had made some inroads into horror, but unless you were, in the ‘70s, unless you were Blatty or you were Ira Levin, you really couldn’t get a horror novel published. So, that’s why I was writing science fiction, because there were all these science fiction magazines. There were no horror magazines. Stu Schiff was doing Whispers, and he could only take so many stories. So, as soon as the horror market opened up . . . I had written three science fiction novels and a novella, mostly for Doubleday and Dell. And then I decided, “It’s time to write my horror novel.” So that I sat down and I wrote The Keep. And that changed my life. I mean, that was a huge international bestseller. It’s never been out of print. I’m just getting the movie rights. In February, I filed for recapture of the movie rights; after 35 years, you can do that. And so, we’ve already got people bidding on it to remake it. So, you may see a movie that resembles my novel in more than the title.
Like I said, I really remember reading The Keep. I would have been 20 . . .
Oh, don’t say it, really.
. . . 21 or 22 at the time, I guess 22 probably, and I have a . . . yeah, it really stuck in my mind. And I kind of went through everything, like, I read science fiction, I read fantasy, I read horror. But I actually read more horror for a while after reading The Keep, looking for something else that I liked as much as I enjoyed The Keep. So, there you go. That was the influence on me. I think you mentioned Lovecraft as an influence as well when you encountered him as a young reader.
Yeah, I encountered him . . . the first time was in The Macabre Reader, edited by Donald Wollheim for Ace, and I had this really Emsh cover. And they were all old stories from weird tales. And there was this one called The Thing on the Doorstep, and it had to be the weirdest damn story I had ever read in my life, and I was sure, asking, “Where is Arkham, Massachusetts? Where is Miskatonic University? I’ve got to go there and get a look at some of these books. And actually, I actually got the college guide. I’m looking up Miskatonic, and it wasn’t in there. I mean, that’s how convincing he was and setting up his world. So, you know . . . I never admired his style, but the idea of cosmic horror really got under my skin, and I just thought, “You know, this is really unsettling.” And that has influenced horror work right from The Keep onward.
Well, let’s talk about how you go about crafting a novel. It’s a very old question, and yet it’s legitimate. Where do you get your ideas? What are the seeds for you, the something that will come to you and make you think, you know, I’ve got to write a book about this? Where do those things come to you from?
Different places. I have a notebook, which every writer should have, and I write down little snatches of whatever. Sometimes the first line, sometimes it’s an idea. Like, the Repairman Jack novel Crisscross, that came from an idea I’d written down that a guy is a recurrent killer, but no one can convict him of any of the murders he’s done, so why not convict him of a murder he didn’t do? And that was just the idea there, but, you know, it turns out that in the end, Jack frames him for the murder he didn’t commit, and that’s what gets him. All the murders he did commit still are unaccounted for. But I saw, I was reading the New York Times and I saw this article that talked about lightning survivors having a meeting, getting together in Clearwater, Florida, which is right on Lightning Alley, and where a lot of them had been struck. And it says some of the survivors have been struck two or three times. And how do you get hit by lightning more than once? Three times. I mean, you’ve got to be out there on the golf course holding a putter. And then I said, well, what if they want to get hit? Yeah, I think they kind of want to get hit, but why would they want to get hit? And then (unclear) had asked me for a ghost story, and I said I couldn’t do it, I had no ideas for ghost stories. And I saw this, and I thought, well, what if you can see a dead loved one, even for just a few minutes? And that became “Aftershock,” and that won me the Stoker Award. So from one little blurb in a newspaper . . . or another one, I saw a line that said chimpanzees, this was years and years ago, it said chimpanzees share 98.4 percent of their DNA with humans. And I’m saying, “What? Really? What if they shared 99.6? “That’s where the novel Sim came from. So those are like the epiphanies, the lightning strikes. But the more practiced approach is from the notebook, because I just, as time goes on, I go back and read through the notes and, you know, one from page six, a little blurb on page six will suddenly adhere to something on page eight. And so that’s something . . . sometimes the books grow by a process of accretion. And it’s got to get to the point where I want to write. I think I can make this worthy of somebody’s time to read it and also worthy of my time to write it. And I used to be a real outliner . . .
That was my next question.
I am a firm believer in an author knowing how to end the story before he begins it. I’ve read too many books, and I’m sure you have to, where you’re going along, and it’s great, it’s just sailing along, cooking, then three-quarters of the way through, it starts to fall apart. You see the little cracks form, and by the end, it’s all falling apart because the author didn’t know how he was going to end it. He’s said, “Oh, sure, I can end it. I’ll think of something when I get there ‘cause I don’t know how I’m going to get there.” Well, you know, sorry, you just disappointed me. I feel I’ve sort of wasted my time reading this. I mean, yeah, the journey’s part of it, but also the destination is really important. Especially for a thriller. I mean, I can see some literary novel where it’s a peripatetic type of wandering narrative, and if it’s really got a good voice, fine, you can be happy with it. But with a thriller, with a horror story, even with science fiction, I want that catharsis. You’re going to be building up emotion in me, you’re going to be building up anticipation, and you’ve got to pay off. I have to blow off that steam. Otherwise, I feel that you haven’t done your job.
I read, I don’t remember what it was, it was a long time ago, but it was kind of a post-apocalyptic thing, and the characters are trying to get to . . . I think it was to New Orleans, where they thought there was still some sort of civilization going on down there. And the whole book is about them trying to get there. But when you got to the end, they were heading down, and it was a standalone, they were heading down the Mississippi, and the book literally ended with, “And maybe they got there, and maybe they didn’t. It’s up to you to decide,” basically.
So that’s about the only book that I literally threw across the room when got to the end of it.
Yeah, that’s . . . why did you do that? You could have just come up with something. But I outline and plotless now. I do more, you know, story points. I know how I’m going to get there. I mean, I know where I’m going, I’m not always sure how I’m going to get there, but I have the story points and plot points that I can sort of hop to. But even when I had a big outline, I would always put in a drawer and write the book. Because the story was in my head by then. But every once in awhile, I’d come up against something and say, “How do I how do I solve this?” So that’s when I pull out the outline, I say, “Oh, I did, I figured it out in the outline. And there’s how I got around this.” And I put it back. But a lot of times, stuff that looks great in an outline doesn’t work great fleshed out, you know? So, then you’ve got to take a different path, you’ve got to make a left turn or a right turn there, so you wander off your outline, but at least you know where you’re going. This is where I’m going. And then you get there, and you get that catharsis that you promised.
Well, that’s pretty much the way . . . that’s very familiar to me, because these days, fortunately, writing for DAW, you know, I’m selling from a synopsis rather than writing the whole book. So, I have the whole thing figured out. But then I don’t look at it when I’m writing. It’s only if I get stuck somewhere that I might take another look at it and say, “What was I thinking originally? Maybe that actually is better than what it’s ended up being. And so, it’s very similar for me.
Yeah, you wander off the path, which is good, but then, you wonder why you had the path, and then you go and look and say, “Oh yeah, that’s why I had that there.”
What’s your actual writing process like you? Do you write a certain time every day? Do you work on a parchment with a quill pen, or how do you like to write?
Well, you know, I started off on the Olympia portable, and then I started making a little money out of it, I bought the IBM Selectric, and I think it was 1980, I was at the World SF Convention in Boston, I was talking to Joe Halderman, and he said, “Oh, I’m writing on a computer now.” I said, “What?” He said, “Yeah, I’m using a word processor on Apple II.” And I said, “Word processor, that sounds wonderful,” because I’m still a two-finger typer, millions and millions of words published, all done with two fingers. So the idea of moving a paragraph around or something like that, and not having to retype the page. I mean, this was . . . oh, how long has this been going on? Well, it hadn’t been going on very long. But I went out, and I blew a lot of money. It was like $3,500 to get an Apple II+ with two floppy drives and 48K of RAM.
All you’ll ever need!
Yeah, I could have had 64, but who needs 64? And I used Apple Writer, which was so crude. It didn’t even have word breaks, it was a total wrap-round on the screen. It did print out with word breaks, but on the screen, you couldn’t see the word breaks and an Epson dot-matrix printer. But I thought I was, you know, I was in hog heaven here. I could just fool around with this stuff. I didn’t have the retype stuff, or minimal retyping. It was mostly just fixing. And so now, I write at the computer completely. I’m a morning writer. I always start early in the morning. I’m a morning person. And the first draft, I like to do a thousand, 1500 words a day. And that way, I can keep up the narrative momentum. And I never look back, I never go back and rewrite until I’m done. I call it the vomit draft. I get everything out, get the story on paper, and then I go back and fix it. I forget who said it, but it’s a great saying about getting that vomit draft out. They said, “You can fix bad writing. You can’t fix no writing.”
You’re the second person I’ve interviewed that calls it the vomit draft. My very first interview on the podcast was Robert J. Sawyer, and that’s what he calls it.
And he said he’d gotten it from Edo van Belkom, who’s a Canadian horror writer.
I know that name.
So, I don’t know where it originated, but yeah. And I’ve been using it since, I’ve been telling people it’s like, “Yeah, you get it on paper, and it’s a huge mess, but you feel better, and then you just have to clean it up. So, it’s quite a good metaphor. So, once you do have that vomit draft, what does your rewriting process look like, then? Do you go back to the beginning? And what sorts of things are you finding and correcting? And how many passes will you do on your revisions?
Well, you know, I’m doing fewer and fewer revision passes because, after 50 years, I’ve gotten pretty good at the first draft.
Practice makes perfect!
Yeah. But, you know, often it’s going back because I’ve made notes as I’ve gone along, I say, “Oh, you got to fix this because, you know, you did this here and you didn’t set it up back there. So, we have to go back and set it up.” So that’s a lot of what my first rewrite or revision is, is consistency, and make sure I’ve set up things that happened later on that occurred to me that weren’t in my original plan. And that happens all the time. And that’s one of the things about writing, say, a trilogy or something like that, is you hand in the first book, it’s gone into production, or maybe even on the third book and the first one is in print. And you’re in the third book and go, “Holy crap, I just wish I had done this blah, blah, blah in book one, so I could do this here, you know. And so, it’s always a process with me, and I’m sure I’m not alone, is that you can’t, over the course of three books, you can’t totally plan for everything you want to do. So, I find that going in chapter by chapter in a standalone book, you’ve got to set everything up. It’s very important to avoid the deus ex feeling in your readers of “where did this come from?” So, that’s usually what my first revision is. Then I don’t play around with it too much before sending it out to my beta readers. And I have an understanding with them that they can say anything. They can’t hurt my feelings. We’re both on the same page that, “You guys like thrillers, I like to write thrillers, and you want to help me make my book better. So, no matter what you say, I’m not going to take it personally.”
How many beta readers do you have? And where did you find them?
I had four. I’m down to three. Most of, a lot of, times they are other writers, but there are a couple of people who were fans, and they actually asked me, you know, “I found these errors in the book. Yeah, you want me to take a look at something before it goes to press?” And it’s amazing. I work with Tor a lot, and I read it, and I reread it, then my four beta readers read it and make corrections. Then my editor reads it. Then they have a professional copy editor read it, then they typeset it, and then they send it back to me for another read-through of the page proofs, and there’s still, it goes to press, and it comes out, and somebody says, oh, you know, there’s this here and there. Jesus!
Usually when you’re doing a public reading, that’s when I tend to find those. I’m doing a reading at a bookstore or something, and there’s a typo.
Yes, you’ll be reading . . . you know, I always read my dialogue out loud, but I don’t read the whole book out loud. And probably I should, because even then, you know, your brain puts that word in. I just had . . . I did a Christmas children’s back around 2000. Alan Clarke did the illustrations. And we just republished it. And he was going through all the typesetting and everything, and he wrote to me and said, “You know, there’s a word missing in this sentence.” It’s an 8,000-word story. I’ve been through it so many times. And there it is. There’s the word “to.” “To” is missing in between two other words. And every time I read it, I put that word in, my brain put that word in, and for some reason, because he was typesetting it, it popped out to him. So, that’s very frustrating. I find that very frustrating. But that’s why . . . you know, I’ve had some very good beta readers. Someone would drop out because life gets in the way and stuff like that. And then after that, if the beta readers are somewhat consistent, if at least two of them find a problem, then I’ll fix it. If one of them has a problem and the other three don’t know, then it’s iffy if I’ll fix it, or whether I think it really needs to be fixed. But a lot of times, you know, they’ll spot some inconsistency, “Well, you said so and so said this here and then he said this over here,” And I’ll say, “Oh, you’re right.” One of the things that have changed my writing is . . . back, I think it was 2006, Tom Monteleone and Elizabeth Monteleone asked me to be an instructor at their writers’ boot camp. Now, I never had a writing course, never been to a workshop. I didn’t know what I was doing, but I said, “Sure, you know, just give me the manuscripts, I’ll line-edit them, and then we can go over them with the writers.” And, you know, I came back from that, you know, it’s just a very intense three days. I came back from that, and I had been correcting passive voice and doing all this type of stuff for them. And I looked at my own work in progress, and I’m saying, “Holy crap, I’m doing the same thing I was correcting them for. Look at this passive voice, all of these bad constructions.” So, it was an eye-opener for me, and it really improved my writing, really tightened it up, because I kept crossing stuff out of theirs, and I’m looking at my stuff saying, “Yeah, I can do without that. I can do without that.” And so, I think you can see a sort of a watershed in 2006 where all of a sudden my writing becomes leaner and cleaner because of that.
Yeah, I just finished a term as a writer in residence at the Saskatoon Public Library, and I did it a few years ago at the Regina Public Library. And I’ve done workshops and stuff like that. And writer-in-residencing is the same thing. People give me manuscripts, and I go over them and then we talk about them. And I would say very confidently, you know, “Here, you should be doing this.” And in the back of my mind, I’m thinking, “I have a feeling if they look at my own stuff, they’re going to see I did exactly the same thing.”
Don’t look at my stuff!
Do as I say, not as I do, is some of that.
So, once it gets to your editor, what kind of editorial feedback do you typically get?
I haven’t had much lately. I miss David Hartwell. He used to be my editor for the Repairman Jack books. You know, he was good for the big picture. Writing day after day after day, I’d get a little bit too involved in the leaves, and he would be able to step back and look at the shape of the tree, and said, “You need to fill this out over here and maybe trim this back over here,” or, “Jack’s reaction here, you know, he’s already been through an awful lot of stuff, he’s probably not going to react like this at this point in his career.” And I’m saying, “Yeah, you’re right. Let me just go fix that. So, I miss him because he was with almost all the Repairman Jack books, right up through Nightworld. And the big irony, he fell carrying a bookcase at home and hit his head and died of a cerebral hemorrhage. Carrying a bookcase. Well, I guess that’s a good way to go.
One thing that I meant to ask as we were talking about the writing process was about characters, and of course, Repairmen Jack is a famous character of yours, but how do you develop characters? Where do you find the people that inhabit your books? And how much work do you do on them before you start writing, and how much simply grows through the process of telling the stories?
I do almost no work on them before. I’m like Nabokov. I think characters are my galley slaves, that’s what he called them, and they’re there to perform a function. So, I mean, for Jack, I did, I made some conscious decisions before I wrote the first Repairman Jack novel that he was going to be not like the other typical thriller heroes. He was not going to be ex-CIA, he was not going to have a history of black ops, he was not an ex-cop, he was not anybody. He was a guy from New Jersey who happened to kill someone, who murdered somebody in New Jersey, the guy who killed his mother, and he murdered him in cold blood. And it sort of changed him. He just sort of divorced himself from human society and went to live in New York City under the radar. So I said, this guy, he’s not going to pay taxes, he’s going to be totally under the radar and off the grid, blah, blah, blah. And so, he’s going to have to set up his own network if he’s going to be doing these fixes and he can’t call on the police, he can’t call on an old buddy to run license plates or fingerprints, he’s got to do it on his own. So, he wound up being a blue-collar hero. And people just responded to that. I mean, when I finished the first book, it was supposed to be a standalone. And I knew when I finished, “People are going to want another one.” And I was determined not to do it. I did not want to get into a series and. So, I spent 14 years doing other things before I did the second Repairman Jack novel. But I let the characters develop as I’m writing. They have to serve the story. I don’t like to really define a character before I start writing because then they start thinking that they’re in charge, and this is my book. “You’re not in charge, I’m in charge, and you do what I tell you to do.” And so . . . unless you have, like, a series character, it changes things. Series characters are different because they have their own personality over the course of the books, and they’re going to do what they’re going to do. But everybody else, they’re going to do what I want them to do. And that’s another thing, when I go back and do my first revision. I don’t know that character when I start. By the end of the book, I know that character pretty well. So I go and rewrite him from the beginning, or her, to be the person I need them to be at the end, and so that way, it seems like I planned this all along. But I haven’t. I’ve just I’ve gone by, you know, I’ve winged it. But it sure doesn’t look like that because, as I said, I make it consistent all the way through.
Well, we’ve been talking about your novels. But, of course, what you have coming up, or probably is out as this goes live, is . . .
My next one is . . . oh, yeah, October.
Yeah, is this collection of shorter pieces. Pastiches, I believe you called them. So, tell me about that and what that is. It sounds interesting.
Well, Other Sandboxes is the title, and over the years. I’ve been asked to do . . . I’ve been asked to do a Lovecraft story, like for Lovecraft’s Legacy, Bob Weinberg and Marty Greenberg, they wanted a Lovecraft story. So, I wrote “The Barrens,” sort of a novella, you know, and it mentions Miskatonic University, it mentions Arkham, Massachusetts and the like, but it takes place in the New Jersey Pine Barrens, which I so twisted into a very Lovecraftian place. I didn’t have to do a lot of twisting. It is a weird place. And then you’re going along . . . and Marty Greenberg is responsible for a lot of it because of all the anthologies he did, all the theme anthologies. Like, he did a Batman anthology when the movie came out, The Further Adventures of Batman, and he didn’t ask me to be in it. And I caught him one day, and I said, “You know, you never asked me,” he said, “I didn’t think you would be interested in comic books,” and I said, “I just love comic books. I’ve written for comic books. I wrote for Creepy and Eerie during the ‘70s. And Batman is the one hero I like because he doesn’t have superpowers.” And he said, “We’re doing a Joker anthology next, do you want in?” and I said, “Oh, I definitely want in.” So that was, “Definitive Therapy,” and then he did a Dick Tracy anthology to go with the movie, and I did one for that, and so as time goes on . . . I mean, Joe Lansdale asked me for a story for his retro-pulp anthology, and I mixed in Fu Manchu. I even threw in Daddy Warbucks. So, there’s a whole bunch of these stories, plus there are other people that I have, you know, living writers like Blake Crouch. He did that Wayward Pines that became a TV series, but he did three books initially and Kindle Worlds, they did a Kindle World for him for his Wayward Pines stories. And he asked me to kick it off if I would, and I didn’t think I could, and all of a sudden, I came up with a really killer story. And so, I did that and . . . so oh, yeah, Leslie Klinger asked me for a Sherlock Holmes for one of his Sherlock Holmes anthologies. So, they all added up, and I had all these stories in other people’s sandboxes. And so, I said, “Gee, why don’t I just put them all together.” And I love the title, and Borderlands Press is putting it out . . .oh, and the coverage by a Canadian, Gerhard, he used to do the backgrounds for the Cerebrus comic book. He’s from Kitchener. And so, it’s a really handsome, handsome book, and it’s pretty fat, too, it’s like 160,000 words.
Yeah. A lot of stories I’ve done all those years, so I’m looking forward to that. You’re recycling stories, obviously, but . . .
It’s rare that anybody would have read them all, so they’ll be new to most people.
Exactly. You’re going to find some, you know, even if you’ve read some of the other ones, you’re going to find a passel of new ones you haven’t. And, you know, they’re all definitely the thriller type of short story.
We’re getting close to the end of the time here, end of the hour. Not that anybody’s really counting, it’s just me and the cat, and the cat doesn’t care. But I’d like to ask the big philosophical question, which is basically, why we do this. Why do you write? Why do you think any of us write? And why write stories of the fantastic specifically?
Oh, that’s always a tough one. Why do you do anything? I just . . . I don’t consider myself a writer. I’m a storyteller. I love to tell stories, and I love to suck you into a good story because then, for a while, I can own you, I can squeeze your adrenaline, squeeze your tear ducts, or whatever. But I find tremendous satisfaction in finishing a story and having it come out the way I wanted it to. And that’s tremendously satisfying for me. So, that’s what keeps me going. I think I started off doing it to see if I could do it. But that, you know, once I found out I could do it, there has to be something else that’s going to, you know, keep it going. And sometimes, you know, you think it’s a little bit of immortality, that after you’re gone, somebody is going to pick up one of these books and read it and in a way, you’re still alive. Woody Allen once said, he says, some people, writers, want to achieve immortality through their books. He said, “I’d much prefer to achieve immortality by not dying.” But anyway, I knew that, just for some reason, I get a tremendous satisfaction out of it. And I always tell a story that I would want to read. And I don’t want to read literary fiction. I don’t want to read a straight romance novel. I want something that’s going to . . . I don’t like mimetic fiction. I don’t want to read about something that could be happening down my block. I don’t want to read about a professor having an affair, an English professor having an affair at the college with a student, or something like that. Because that really happens. And that’s the promise of fiction to me, is to take you someplace where you can’t go. And this writer is going to take me someplace where I can’t go by myself, and I want to go along. And if I can walk down the street and find these people that some of these writers are writing about, what do I need them for? You know, I can find the people myself. But you’re going to take me someplace that doesn’t exist? Well, cool. I’m there. So that’s what I want to do.
And where are you taking readers next? What are you working on right now?
Right now, I’m working on another sort of a cosmic horror novel, but I do have a, next June, I have to call it a science fiction, weird science fiction, but science fiction novel, coming out from Tor. My title was (unclear), they always hate my title, so now it’s called Double Threat. And it’s really a rewrite of my first novel, Healer, transposed from the far future to the present time. I transgendered the hero from male to a millennial female, and . . . totally different take on the book. And those changes, you know, make it . . . you wouldn’t know it was the same book. So that was fun.
And that comes out next June?
That comes out in June.
And where can people find you online?
I’m at RepairmanJack.com. I’m also on Facebook, and I’m also on Twitter @FPaulWilson.
Well, that’s kind of the time. So, thanks so much for being on The Worldshapers. I enjoyed that chat. I hope you did, too.
I did. And that’s it for now. So, thanks so much, and bye for now.
Kendare Blake grew up in the small city of Cambridge, Minnesota. She’s a graduate of Ithaca College in Ithaca, New York, and received a Master of Arts in Creative Writing from Middlesex University in London, England. Her bio notes: “Adopted from South Korea at the age of seven months, she arrived with the following instruction: feed her chocolate. Though not medically advisable, she and her parents are eternally grateful for this advice.”
The (Lightly Edited) Transcript
Welcome to The Worldshapers.
Thank you. Thanks for having me.
Now, we met at C2E2 in Chicago, I guess that’s Comic Con and Entertainment Expo in Chicago. When was that? Four or five years ago now?
Yeah. It was such a long time. You sent me that photo of us and I opened it and I was like, “Oh, yep, yep, that is where it was.” And my second thought was, “Wow, what a long time ago, like where does the time go? It seems like yesterday.”
Yeah, it was a few years and, of course, at the time you actually thought that we shared a last name because I was there in my capacity as E.C. Blake, which is a pseudonym of mine. So, we do kind of share a last name.
As E.C. Blake, I wrote a fantasy trilogy for DAW Books called the Masks of Aygrima. So, that was current at the time, and so that’s what I was…that’s who I was pretending to be, or however that works with pseudonyms, but we had a great panel there and I enjoyed getting to know everybody that was on it, so you came to mind but I was thinking of possible guests, and here you are.
Well, thank you. Thanks for reaching out.
We’re going to focus primarily on Three Dark Crowns, which started off a new series for you. I have read the first book, so I’m prepared. I literally finished reading it about 15 minutes before I called you up here. So, it’s fresh in my mind.
But first I’d like to go back in…I always say this…into the mists of time (speaking of going back a long ways). How did you become, well, first of all, interested in, I presume, reading science fiction and fantasy, that’s where we all kind of start, it seems like, and then how did you get interested in writing it? What was the…your story that led you into this?
I think a love of reading, it oftentimes just progresses into a love of storytelling and then it naturally lends itself to wanting to live a life of stories and write your own stories. My mom largely was the one who got me into reading. She…when we were growing up, we didn’t have a lot of money, but the library was always free, so we were frequent visitors to the library, We had one of those big canvas sacks that we would frequently fill with probably about the same twenty unicorn picture books just on repeat, and the poor woman just read them to me over and over again without ever once expressing the boredom and annoyance that she must have been feeling about the same twenty unicorn picture books. So, I was reading voraciously…like, I could read before I went to kindergarten because of her, because she just really immersed me in words. And my Dad, too. We would sit around and read the Sunday paper together and I would, he would read me the Garfield comic strips, and then I would read him back the Garfield comic strips, just by memory, and eventually, that’s kind of how I learned to read. So, that kind of kept on. They always kept my nose in books. So, thanks, parents!
Now, the town of Cambridge, Minnesota…although I live in Saskatchewan, so it’s relatively close to Minnesota, I’m not familiar with Cambridge. How small a town is it?
It’s like…man. I mean, you know, you always pass the population sign, and you wonder, “Well, how often are they updating that?” But I believe the population sign, when I was there, was something like 7,000 people.
Very close to…I grew up in Weyburn, Saskatchewan, and the population signed for years said 10,000 but they were rounding up, and then…I think they have finally passed 10,000. But for most of the time it was more like 6,000 and something, I think, officially, but they rounded it up to 10,000.
Oh, wow, they really rounded. They went for it.
I spent a lot of time in the library there as well and I also learned to read before I went into Grade 1. So, kind of a similar story there. Well, once you started reading things other than unicorn picture books, did you gravitate to the fantastical at that time or were you reading other stuff?
It was a pretty fast switch, actually. I went straight from you know, unicorns and The Black Stallion right into Stephen King and Anne Rice. Just a hard turnabout, God, I must have been like ten or so, when my mom and I or somebody and I, probably my mom and I, were walking through Wal-Mart or Sam’s Club or something and adult novels caught my eye, and, yeah. That was the end of Black Beauty for me.
My other library story is similar, in that my mom got called in by the librarian, and she said, “You know that your son is reading stuff from the adult side of the library,” because it was split into the kids’ side and the adults’ side. And my mom said, “Oh, it’s okay. He only read science fiction and fantasy.” And I thought, “Mom, you don’t actually know what’s in science fiction and fantasy.” But I was glad for her for standing up for me anyway.
Yeah. I spent so long dragging my mom through bookstores and, you know, trying to pick out the one book that I was gonna get that day, that it didn’t matter what I’d pick up, and, like, “Hey, can I get this?” By the time I asked her, she was so just fed up with waiting, she’d say, “Yeah, yeah, yeah, whatever, yeah. Let’s go.” So, I probably got away with a lot.
So, when did you get interested in trying to write your own stories?
Well, the earliest fledgling attempt I can remember to actually write anything of length, it was kind of a length challenge. I wanted to know if I could write something that was as long as a book, like a book-length something. So, I started writing this horse story when I was in seventh grade. And it took up, like, three spiral-bound notebooks by hand. I don’t know if…I don’t remember how serious I was about it. or if it was just an experiment. but that was. that’s the earliest thing I can remember. I’m sure it was terrible.
So, as you went on through high school, did you write more and more stuff. Did you share it with other people to read, at some point?
I didn’t share much. I’m pretty private…a private writer. But whenever, you know, there’s those word problems in math and they kind of let you go on and on? I was…whenever you gave me an option in homework to use words instead of numbers, or to have, like a more than just a simple answer, I always took it. So, my teachers would often say, like, “Hey, you know, you think you might be a writer or something?” I’m like, “Maybe.” But I…it was kind of a far-off dream at that point. Authors were like…that was like becoming an actor or something, you know, like, “Sure, I’ll run away to New York and become a writer. Right. That’ll happen.” So, I didn’t really think about it seriously. I wrote a couple of…well. quite a few. actually…short horror stories. I love writing short fiction. and when you’re in school. you know. that’s oftentimes what you have time to do. So, I wrote a collection of short fiction with my then-boyfriend, like, he wrote a bunch, and I wrote a bunch, and so I shared them with him. But that’s about it. And then I wrote another novel in high school that was also terrible. And I think that was when I first thought, “You know, maybe, maybe I could try to get something published, you know, someday.”
Well, just the act of writing something long, you know, just putting that many words on paper, is an important part of becoming a writer. I mean…
It is. Yeah. Learning to finish is important.
You mentioned Stephen King. I think he’s famously said that everybody writes half a million words of unpublishable stuff before they write anything publishable, and I think he may be on the low end of that.
I know! I agree.
So, when you did to university, though, you didn’t go into writing right away. You went to Ithaca College, but it was a business degree, wasn’t it?
It was, yeah. I always loved books, I always loved writing, but I also…I just wasn’t…I also wanted to be able to make my own way, you know, and um…I’m pretty practical. I’m a pretty practical person. So, I wanted to have something where if, you know, I couldn’t live my dream of being an author, then at least I wanted to be able to make some money. So, I went into finance and was going to be, you know, I’m not sure what at that point, like a stock analyst or an investment banker, I don’t know…I like foreign currencies, maybe foreign currency trader or something like that. But by the time I finished the degree, I hated it, so…I didn’t really figure out that I hated it until senior year. They actually brought in a speaker who I think was supposed to be inspiring to us as the senior class, but all I heard the whole time he was talking about how he had a Lambo and worked for Merrill Lynch and had this great office and…but all I heard was. “Yeah, my friends go skiing in Aspen and I stay and work, and I never get to drive the Lambo because I’m always at work, and I’m a little bit bald now because I’m always at work, and I haven’t…” It was really, really kind of upsetting, all the things he was saying in between the other things that were supposed to be inspiring, and those things were what I clung onto him, like, “So, you’re telling me I’m going to have no time, I’m going to be stressed out, I’m gonna be bald and miserable. OK. I’m not…I’m going to change. I’m not using his degree.”
Well, maybe it was…maybe he was the perfect speaker. then. from your point of view.
For me, yeah, I’m very grateful. And I’m pretty sure that my classmates already knew that going in and they were ready, but I was not.
So, did you then immediately…you went on and got a master’s in creative writing in England, so how did you make the leap from here to there and from that to that?
It was a year or two of working kind of horrible jobs. I sold garbage at one point. Literally. I sold people trash service, like, “Who do you want to pick up your garbage? Let’s just decide, you know, who has the best garbage truck that goes around your neighborhood?” And I just…I kind of knew I had to go back to school for something, and at the same time I just knew that I wasn’t…by then I’d figured out, like, I wasn’t going to be happy if I didn’t give this writing thing a try. So that was my chance. I said I’d give myself this degree and I’d take this time and I’d just put everything into it, and if it worked out it worked out and if it didn’t, well, at least I would know that I gave it a shot. So, I asked my parents if they were cool if I moved back in with them. They said, “Of course,” because they’re those kind of clingy parents that you want but don’t want but you’re lucky you have them. And, yeah, I took out just massive student loans and went to London–with a friend! So, I wasn’t by myself. That helped.
I always wanted to live abroad. I’ve always loved, you know, British culture. One of the first classics I read was Jane Eyre, and I like…I’m kind of like an Austen head. So, I really wanted to go over there, I’ve always wanted to travel there, and really I’ve always wanted to live there, so I figured the language barrier was okay, I could discern the accents, and that was probably the safest bet if I wanted to go overseas.
So how long a program was that Master of Arts in Creative Writing?
It was only a year, which was another selling point, which I still…I still give that piece of advice to young writers who come up to me and ask about, “You know, should I get an MA, should I not get an MA.” Well, you know, in London it only takes a year instead of, you know, oftentimes it’s two years in the States. So, when you even it out, it’s about the same cost, despite the exchange rate, and it’s less time. So, yeah, it was only…it was a thirteen-month program, I think? That’s how long we were over there? And it was wonderful. Just really relaxed. Laid back.
So, I’ve talked to a number of authors at this point and many of them had no formal training at all and others have had formal creative-writing training. I think you’re the first Master’s I’ve encountered, though I have another one coming up, I know, in a future episode. So, I get varying degrees of was it worth it or not, depending on who you talk to. Some of the ones who took creative writing said that they ran into professors who, you know, said, “You can’t write that crap,” meaning science fiction or fantasy, and so they found it a very negative experience. What was your experience doing it formally?
Oh, well, they…my professors were wonderful. It was a really small class. Like I said. it was extremely laid back. I don’t know if it’s just they have a different view of that over there, or what, but small class sizes…I’m talking, my graduating, my actual graduating class, was probably about six of us. It was just a very small program. And so, it made the workshop aspect of it extremely effective because we all got to know each other’s work very well. And it was a supportive and collaborative kind of environment. But they were very open to whatever our natural voices and our natural inclinations were. Most of the writers on the course were of a more literary and sometimes even journalistic bent, but…and that’s what I tried to do. I mean, I love literary fiction, and I do write it occasionally, so I was trying to do that. But my love of fantasy and just the weirdness kept kind of creeping in and eventually I started writing stories about, you know, a girl who is suicidal and then accidentally, when she’s like cutting wrist, she finds that, you know, she unlocks, like, a portal to the Greek underworld and, you know, just weird stuff like that kept coming out in my stories and they never…they really embraced it. I was, I told them immediately, like, you know, I’d really like to give this a go, I really, I’m hoping for some kind of literary life, for life in Book World, just to carve that out for myself, and they were very quick to hook me up with every resource they had. They got me an internship with a literary agency in London, so I had some work experience and got to see things from the other side of the desk, and they just embraced my voice. They’re like, “You know, it’s…you’ve got a nice commercial voice.” So, I never ran into that kind of snobbishness, I guess. So, I’m lucky.
It’s nice to hear, because I’ve had more of the other than I’ve had that from the authors I’ve talked to. So, I’m glad it does work out sometimes. I’m actually…I have…my training was in journalism. I never had a…I took one creative writing course in university. But the funny thing is I’m currently mentoring an MFA student from the University of Saskatchewan. So, I’ve actually just sort of jumped straight up to teaching people who are getting a masters in a way.
How’s it going?
Good. But he’s writing young adult fantasy and so clearly, you know, the university up there did have a problem with that. They just found him a mentor who could, who could help him with that. So, obviously it just depends on the program. So, you went on from there. Your first book, Anna Dressed in Blood. That was the first published one, wasn’t it?
Well, actually, a literary novel called Sleepwalk Society was released by a small press the year before, and I had actually written that one before my Master’s course. And it was such a small press…I’m talking a micro press. Really wonderful people and I’m so glad that I got to work with them and met them, but I do consider Anna Dressed in Blood to be my first mainstream majorly published novel. So, yeah, that’s usually what I talk about.
Were you actually working on that while you were still doing your masters? Did that sort of start during that time or did it start afterwards?
No, it definitely started afterwards. Probably about six months afterwards was when I started writing? And I was…I worked on a different novel during my, for my dissertation, and I completed it. It was also literary, but it didn’t, you know, it just, it wasn’t there. But when I switched to write…when I switched gears and kind of really embraced the fantasy side and my horror-loving side, which maybe I had been fighting because I thought, you know, you’re supposed to write literary, that’s when everything kind of changed. Like, all the short stories I’d been selling prior to that, I’d sold maybe one or two literary ones but most of them had a horror or a fantasy bent.
Well, and we’re going to talk specifically now about Three Dark Crowns, which started a new…is it a series? A trilogy? What would you call it?
It’s a quartet. The final book comes out in September.
It’s a quartet. Okay. And we’ll talk about…use that as an example of your writing process on everything that you’ve written, but maybe the first thing to do is to get you to give a synopsis of it, so I don’t give something away that you don’t want me to give away.
Sure! So, the Three Dark Crowns series is set on an island. It’s a magical island, where a person can be born with a number of different gifts. So, you can be like an elemental, for example, so you can control one or more of the elements. You can be a naturalist, so you can make things grow, like crops and flowers, and you can also commune with nature and the animals, and you have a little animal companion, called a familiar, who kind of knows what you’re thinking and feeling and vice versa. You can also be a poisoner, so poisoners really like to ingest poison, because it has no effect and it kind of gives them a rush, actually, to ingest poison, and they really like poisoning other people. So, on this island, it’s always been ruled by a queen, and in every generation that queen gives birth to a set of triplets, triplet queens, who all have a particular magical gift, and they are raised, and when they turn sixteen they have a year, essentially, in which to just kill the crap out of each other, and whichever one survives gets to be the new queen, and then bear the next triplets, and so on and so forth. So, Three Dark Crowns is the story of one such generation of these sisters and how they deal with their battle to the death.
Now, you mentioned, that you, you know, your fantasy often also dips into the horror side. That certainly seems to be the case in Three Dark Crowns. Is that common in all of your fantasy? Do you…does it always have that kind of dark edge to it?
I would say so. And I don’t know why but it always tends to be a little bit violent. Someone pointed out to me about two years ago that every single one of my books has intestines, like, intestines somehow end up always on the outside of someone’s body. And I went through and, like, sure enough, yes, every single book that I’ve written has intestines on the outside, so now I make sure that I always put intestines on the outside at some point.
Well I certainly noticed them making their appearance in Three Dark Crowns. So, what are the…what is the seed for you for a book? I mean, this one, specifically, but also any of your books. How do the ideas come to you that you then develop into a book?
I’m not sure it’s the same for you, but for me it’s always different and random. Three Dark Crowns, with its triplet sisters who have to kill each other, actually came from a ball of bees, like a swarm of bees? Are you familiar with beekeeping at all?
Ok. So I was not, and I was at a book event in 2013 and they had like a hot-dog truck outside and it was a lovely day and people were going in and out through the bookstore, but there was a swarm of bees, a big ball of them about the size of a human head, stuck to the tree, like the fork of the tree, right next to the hot-dog truck and everybody was afraid to go and get the hotdogs and maybe we should cancel the event because there were kids there and we didn’t want anybody to die, but there happened to be a beekeeper there, and she said, “You know, when they form a ball like that, their only concern is protecting their queen, who is at the center of the ball. They’re on their way to a new hive. And if she dies, you know, that’s the end of them. So, really, they’re kind of docile when they’re in that state, as long as you don’t poke the ball or annoy it in any way, you can go right up to the hot-dog truck. And everybody was fine and that was true, but since there was a beekeeper there–I mean, what have I ever met a beekeeper? So, I just followed this poor woman around all day asking her bee questions, and I wanted to know, like, “Why does she have to travel in the middle of the ball? That seems very inconvenient. Does she do this a lot?”, and she told me a bunch of stuff about bees and keeping bees and how she gets her hive, but she also told me that a queen bee will leave her hive for a number of reasons, but before she does she’ll lay four or five baby queen eggs, before that she is only laying worker eggs, and she takes off with half the hive and then the baby queens hatch out and they just spite and sting each other to death, and whichever one lives is the strongest queen and she gets to take over the old hive. So, I just really liked that idea and I wanted to do it to people, so on the way home that’s what I started to do, I started to develop the idea of Three Dark Crowns. But that is the only time–the only time–that I can pinpoint exactly when an idea arrived. Do your ideas…can you can you distill them down and go back and find out, like, “Ah, that was the seed of the idea,” because Three Dark Crowns, that’s the only one for me, I have no idea where the rest of them came from.
It depends very much on the on the particular story. Some of them I can and some of them…I was doing an interview recently on an older book that I reissued, and I couldn’t for the life of me remember why I wrote it.
Exactly! Yeah, it’s by the time you…you know, it seems like it’s kind of a compilation of ideas? Like, you get a spark of something, and you’re like, “Oh, that’s kind of an interesting thought.” And then you push it away and if it comes back you know it’s a worthy idea. But it may be has gained something in the time that it was gone.
Well, so once you had this this initial idea of this case–this is good, because at least you remember this one–how do you go about fleshing it out and developing it into a story? Do you do a detailed outlined, do you do kind of just a sketch, what’s your process there?
I do not. You know, there was something going around on Twitter yesterday, like, one of those square, you know, tables, like a chart, and you could kind of..it had different definitions for, like, “Are you a lawful pantser?” And you know the pantser versus plotter…
So, “Are you a lawful pantser? Are you a lawful plotter? Are you a chaotic pantser?”, and it had all these different levels of plotting versus panting, and different definitions for each. And I read through it and I was very surprised to find that…I thought I’d be a combination of a couple. like. you know. whenever those things come out most people are a combination of a couple. But I’m actually quite a lawful pantser. I don’t outline, unless I’m really deep in a series and kind of in over my head as far as the plot lines are going, I never outline. I had the idea in 2013, spring of 2013. I didn’t start writing it until…late 2014, I want to say?” So, it had been sitting there for at least a year, which I like to do because I want it to prove itself to me that I really want to write it. I don’t want it to be one of those ideas where you’re like, “Well, that’s neat,” and then two months later, like, “No, it isn’t.” I don’t, I don’t want to work on this for as long as it takes to finish it. So, if it’s a novel, I make it wait for at least a year and percolate, and it kind of just develops in my subconscious, I think?
So, initially I met the three queens, you know, the three sisters kind of introduced themselves to me and told me what their names were, which I love, because I hate naming characters. Please just introduce yourself to me! And I knew what their gifts were. And I kind of knew…over time, I grew to knew what their situation was, you know, what their culture was like in the different cities, because on the island different cities foster different gifts. So, the poisoners have a city, the naturalists have a city, the elementals have a city, and each one has a different culture because each gift values different things and are raising these girls differently. all of them trying to win. And so, by the time I started writing I had a pretty good sense of who these girls were and where they were coming from. But I had no idea what would happen once I threw them together. And that is the ultimate joy that I have as a writer, is I love my characters, and they are real people to me. That sounds weird, but they’re real, living in another dimension, and I just want to take them and shove them in a room together and see what happens. So that’s what I do.
So, you didn’t write down anything before you just started writing the actual narrative?
Right. I usually like to…as soon as I start, like, I’ll start hearing snippets of conversations and I’ll start hearing snippets of scenes, and as soon as that starts happening with enough frequency that I’ll actually write down a paragraph or two by hand, just to keep it, I’ll know that it’s almost time to start. And when I start I like to have a good idea of where I’m opening and maybe an idea of where the first three chapters might go. And then after that I just depend on it to fill itself in.
So, you don’t even have the ending in mind when you start?
Usually not. I like to be surprised.
You are a lawful pantser!
Yeah. I did have…with Three Dark Crowns, I did know the secret. So, I did know that that is what would be revealed at the end. But I didn’t know how she was gonna get there, I didn’t know how anybody was gonna get there, and I didn’t know…like, yeah, that’s all I knew. I knew these girls were gonna have to fight, I knew there was ceremony involved, and tradition, and…but I didn’t know anything. It was very going in blind, and it usually is, as far as my books are concerned.
So, you must write completely sequentially then, you don’t do scenes and then move them around later? Or do you?
I don’t. I write from start to finish. That’s just…I’m finding…I’m just throwing words out into the void and following them and hoping that there is, you know, like something to catch them on the other side.
So, what is your actual physical writing process? Do you write by hand, do you write in an office, do you go off to a coffee shop, do you sit under a tree, how do you like to work?
Oh, except for those very brief notes I never do anything by hand because my handwriting is just bad.
Exactly. That’s how I feel about it!
It’s just bad. I really envy people with pretty handwriting. And I have an office, I have a home office, so I write here pretty exclusively. There’s a writing group around where I live and sometimes a bunch of us will meet up at a coffeehouse and write for a day just so, you know, we’ll write, and then we’ll have lunch and chat about it and just kind of commiserate, but that’s only once every few months. It’s so…by and large, yeah, I’m that stereotypical writer by myself in an office in a room, sometimes in the dark…no, not usually in the dark, but yeah.
How fast a writer are you?
Slow. I mean, I think I’m slow. I’m slow by young adult standards. Probably fast by adult standards. So…young adult. I mean. we all like to keep to a book a year, which, when you think about it, is tough. Some of us write three books a year, which just makes my brain hurt and wish for sleep. But I probably…left to my own devices, I would love to have eight…seven to nine months…to do a first draft. I love it. Love it! Haven’t had it in years, but that’s, like, my natural writing habitat.
Publishers tend to want you to keep producing books.
So, when you have a first draft, then what? What’s your revision process? Do you have beta readers? You mentioned a writing group, but that sounds like it’s a very infrequent thing. Do you show to other people or do you just go back to the beginning and…what’s your process?
Well, lately my process has been, “This has to go to my editor, so it goes.” And…
That also sounds familiar!
I don’t…I’ve never had critique partners. I’ve never had beta readers. I kind of wish that I did. I’ve just never…I have writing friends, but we don’t have that kind of environment. I think it takes a particular kind of trust, a particular kind of friendship to have…to be able to do that back-and-forth beta reading and I’ve just never come across that. Maybe it’s just not my nature. So, and when it hangs out with my editor, while it’s hanging out with my editor, I do like to cool drafts off for a number of months, because when I finish it I’m like, “Well, this isn’t so bad. That went pretty well.” And then two months later I’ll say, “Well, that was a garbage fire. Let me just take that back from you and do it all over again.” So, that’s, yeah. Good process.
Do you do revision before you send it to your editor, or does it…are you done when you get to the end of the first draft? Like, do you publish it as you go, or do you go back and start from the beginning and work your way through it again? How does that work for you?
Well, lately…it’s been different with every with every series,. With the Three Dark Crowns series, I’d say I rewrote Three Dark Crowns from top to tails about three times, and I wrote the first hundred pages maybe three times before that. So, yeah, it was hard, it was a lot. Each book has gotten a little bit better. The final book in the series I only had to rewrite, like, once, which was nice, but everything else has been like two times, a full rewrite, just full rewrite, because I just…it’s not that necessarily all of the beats in the plot were wrong but the way that I was telling them were wrong and the writing was not very good. And I just…I really need those few months of just letting it cool off so I can gain some perspective. so I can step back and look at it with. you know. actual eyes and say, “Yeah, this is really, really bad, and I’m sorry that I made my editor read it, but, you know, what’s done is done, now I get to fix it.”
What kind of feedback do you typically get from your editor? Have you had the same editor all along?
I haven’t. I had the same editor at Tor, Tor Teen, for the first five books, so Anna Dressed in Blood series and The Goddess War trilogy, I had the same editor, she’s wonderful, love her. I have a new editor for the Three Dark Crowns series because I moved from Tor to Harper teen and I also love my new editor. I’ve been really, really lucky with editors. And the kind of feedback that I get from her is I think fairly standard. I don’t know about, I mean, you know, you can tell me a little bit about your editors, too, if they give you, like, the shit sandwich? That’s what I call it. So, there’s like bread…it’s like a, about a sixteen-page, single-spaced, one page of bread where they tell you what’s great about it and then like, and then like fourteen pages just of shit, like everything that needs to be fixed and reworked. And then they’ll, you know, finish it off with another slice of bread that’s like, “Oh, yeah, but it’s still so wonderful and let’s have lunch when you’re in town,” and all that stuff. So, yeah, it’s…she’s very, very detail oriented. She really has a strong handle on worldbuilding. She has a really good sense of character. So there was a lot of that, a lot of tracking through the arcs, and the further you get, the further we get, into the series, the more the feedback has to do with, like, the arc of the character and making sure that all the beats are coming through with the proper dramatic hits and that I’m making motivations very clear for the readers. I can’t really the early feedback for Three Dark Crowns, because I would have been about four years ago now, but, yeah, that’s the long and short of it.
Well, my editor at DAW, which is my major publisher, is Sheila Gilbert, and she’s been doing this for a long time, and Sheila actually doesn’t send us, us being her authors, doesn’t send us a written editorial letter, we do it all by phone. So, it’s a two-hour phone call, and after the first fifteen minutes of talking about cats, then it’s talking about the book and…and she’s, yeah, it’s much the same thing. You know, I have gotten to the end of one of those conversations..and sometimes it’s done in person, if I happen to be at a convention or her see her in person, and you get to the end of it…I got to the end of one and I actually said to her, “But I am a good writer?” And basically, she said, “I’m by buying your book, aren’t I?” Yeah, so there can be some of that, but at the same time it’s, you know, it’s all necessary and it’s done from a knowledgeable place, from somebody who has seen an awful lot of this stuff and knows what works and what doesn’t.
Yeah. That’s why they’re there and that’s why, when you’re, you know, when we’re deciding on who to work with, you know, you definitely want to have an editor who shares your vision for the project. And I do the phone calls, too, so she’ll send me the letter and I’ll read it, and I’ll just, you know, weep, and then we’ll jump on the phone and we’ll have this, you know, like a really long two-hour conversation about it. And by the time I’m finished I know exactly what I need to do and I’m very energized. So, I guess that is our process, our process is kind of a combo, like, the letter just like land the blow, and then the phone call to really soften it out and get things moving.
Are there any specific writing tics that you have to watch out for? I mean aside from the entrails thing, which apparently you have fully embraced?
Things that I think…
You know, we all, or I do, anyway. I have these, you know, and it doesn’t necessarily come from the editor, I find it in my own rewriting. My characters, for example, I have a tendency to have people make animal noises when they’re speaking, they’ll growl dialogue or they’ll snarl something, and I have to watch out for that. Anything like that for you?
It differs by book. Like, if one book she’s like, “They’re frowning too much,” then I take out all the frowns and then the next book they’ll be, like, smirking too much. So, it’s…yeah, there’s definitely stuff like that. I will catch myself slipping into passive voice a lot more than I appreciate, but I’m pretty decent about going through and picking that up.
Yeah, that’s something I check on all the time, too. I find that more than I would like.
Yeah, and I don’t know…but, yeah, it’s always there and sometimes you just…even through, like, the line edits. So, you’ve been through major revisions probably a couple of times by that point, and then you go through the line edits and you realize, “Man, a lot of your paragraphs are just totally structured very poorly,” so you have to, you know, change the sentences around or, yeah, there’s definitely a lot of it. It seems like I was more naturally talented in the beginning and there’s a lot more heavy lifting to fix, you know, just the crap that comes out in the first draft. My first, Anna Dressed in Blood, had almost no revisions, like it just, there it was, like it felts like most of them were additions, story smoothing, but as far as sentence-level rewrites there were practically none. And that’s definitely not the case anymore.
One thing I did want to comment on in this book…and I don’t know if it’s your common choice…but it is written in present tense. Is that something you often choose for your stories?
It depends on the story. It felt right for this, third-person present, which I know really, really bugs some people, but third-person present felt right for this. I usually write…unless…if I’m working with a first-person narrator, unless I want them to be an unreliable narrator, I almost always go present tense because of the immediacy. I don’t want to give my narrator time to color things with their own recollection. I really want it just to stream right through, so it adds a little bit more authenticity to the voice, a little more believability. But if I do want, you know…because nobody…we never remember things how they really happened, you know, even things that just happened to us, it’s always colored by experience and the passage of time. So, if I’m writing in past tense that’s always, I’m always very aware of that, as far as if I’m working with a first-person narration. My Goddess War series was told in third past, so it’s…and I think my next fantasy series will be in third past as well, and my next stand-alone is going to be in in first past. So, I don’t know. Maybe I just need a break from present tense.
Well, I admit, I was…I don’t know, I was maybe four or five chapters in and it suddenly twigged on me that it was in present tense, which is interesting, that it didn’t immediately…I was reading it in past tense even though it was written in present tense. That’s something weird in my brain, I guess, but I didn’t immediately notice, which is interesting. Probably more to do with me than you, though. So, you mentioned going through all these stages of rewrites, and line edits, and it is something I like to point out to readers, sometimes, who, you know, say, “Well, you must be so excited your book is out,” and it’s like, “Yeah, but I’ve seen that thing so much at this point.” Do you feel that way a little bit when it comes out, that you’ve read it way too many times already and you don’t have to look at it again after it’s published?
Oh, exactly. Like, that’s…yeah, I remember, you know…more so in the early books. You know, people say, like, “Oh my God, your book is out and you can hold it in your hands and are you so excited to just bring it home and read it?” And it was very exciting to see an on a shelf and to hold it in my hands. And it is still very exciting to see my books on shelves and be able to hold them as physical books because books are so, you know, such a big, monumental part of my life. But I never want to crack my book open and actually read it because I have read it like ten times from cover to cover within the last six months or so. And, I mean, even my favorite books I haven’t reread ten times. So, yeah, I think I’ve had enough…and yet. I will sometimes now…it’s been about ten years since Anna Dressed in Blood…I will pick it up and if I need to reference something, like, “Oh, what did I say then?”, I’ll read it and then I’ll catch myself, like, reading a little more and going, “Well, that’s not bad, that’s OK,” but it’s taken ten years for me to do that, and as far as Three Dark Crowns goes, it’s still so fresh that the only reason I’ll crack one open is if I need to reference something that I said before, just to make sure, like, I’m in the right area of the castle or the right hair color or eye color, et cetera, et cetera.
I presume there are audiobooks of your work. Have you ever listened to those?
No, I can’t. I just…I think it’s too weird to listen to somebody else read my, you know…do you think that’s weird? Do you like…I mean, I’ve chose the audiobook narrator for the Three Dark Crowns series, which is my first time doing that, and she’s wonderful, she’s fantastic, and I do listen to enough of it so that I’m like, “Oh, yeah, Amy Landon, you knocked it out of the park again,” so I can, you know, really appreciate that. But then I stop. Do you do the same thing or can you…?
Well, I did one young adult fantasy series, I retained the audiobook rights, it’s from a smaller publisher here in Regina called Coteau Books, and it’s an Arthurian, modern-day Arthurian series called The Shards of Excalibur. So, I actually found the narrator,, but I was also the publisher because I was doing it through ACX–audio book exchange or whatever that stands for–Audiobook Creation Exchange or something like that. So, I had to listen to them all because I had to do the proof listening, And actually, I kind of enjoyed it. It’d had been a while. She did such a great job. It was…she did… there’s a teen girl and that was great but there’s a teen boy and she made him believable and Merlin’s like a computer guy like Bill Gates or something in my story and she gave him this obnoxious English accent. And, yeah, I actually quite enjoyed listening to my own stuff, but I’ve never listened to the ones that are done…like, my latest one, Worldshaper, has one out and I’ve listened to the opening of it and I can’t quite bring myself to listen to anymore because it’s just too soon since that came out and I just want to hear it again right now. Also, I read it out loud to my wife, so I feel like…
Yeah. That’s another thing I do. I do the same thing, I read them all out loud to my husband. So, yeah. He’s an audiobook guy. Is your wife an audiobook listener?
No, but we have this thing where…our kitchen’s not big enough for both of us to work side by side, it’s an old house, so she…I pour wine and she cooks and I read to her. That’s kind of our suppertime ritual.
Oh, that’s nice.
We’re currently reading Life of Johnson by Boswell. So, it says it takes fifty hours, so apparently it’s a long book…I’m reading it on e-book. Anyway, that’s what we do. So, you’ve got the last book coming out…and it’s called Three Dark Crowns, is the name for the overall quartet, is it, as well as the first book?
Yes. So, yeah, the series doesn’t have a special name, it’s just the Three Dark Crowns series and it will be comprised of four main novels, and then I also released a short bind-up of novellas. They’re prequel novellas, so they take place before the start of the series, when the queens were children, and then one of a queen from 500 years before. And that one’s called Queens of Fennbirn. But the last book will be called Five Dark Fates. So, completely out of numerical order, which is really bugging people.
What are the two middle books called?
So, the order of the series is Three Dark Crowns, One Dark Throne, Two Dark Reigns, and Five Dark Fates.
They don’t even add up!
They don’t even add up. They totally skip…I totally skipped number four. Originally, the series was designed to be a two-book series. It was just a duo. So, the story…it completes an arc at the end of One Dark Throne, and then, the next two books…I like to think of them almost as separate duologies, because the first is, like, the story of the Ascension and then the second is like the story of the reign. Yeah, so, when it was just going to be Three Dark Crowns and One Dark Throne, well that wouldn’t have been too confusing, that would have been OK. And then I started adding more numbers and it just got out of control.
Well, now we’re at the point where I’m going to ask you the big philosophical questions. Why do you write and why do you think any of us write? In particular, why do you write this kind of stuff, and why do you think any of us write this kind of stuff? What do you think is the impetus?
I think escapism has so much to do with it as far as why we write fantasy, and even horror, in particular. I don’t know about you, but I find there’s something soothing about being extremely frightened of something that can’t actually hurt me. There’s enough to be afraid of for real when you’re just walking around living your life. So, if I can be afraid of, like, a guy with Butterfinger knives on his hands, that’s wonderful to me. I love, I have Freddy nightmares every now and again and they’re my favorites, just waking up just terrified and knowing, “Well, he’s not real,” and hoping someday he will be. So, there’s a lot of…at least, for me I think that’s where it is. I always used to try to find, you know, magic when I was a kid, in the real world. I always thought, like, “Man, our world is so dull, it’s so boring, like, my horse doesn’t have a horn, not a single horn on that horse whatsoever. Not even an invisible one. She never grew one. I waited… And so, yeah, escapism. And…what was the other question? Kind of starting to ramble here.
Well, that’s sort of one reason we read it and maybe why you write it, but, like, do you enjoy it? I mean, is it fun?
Oh, yeah. I don’t know what it is about…I don’t know, for me, since I’m a hard-core pantser, when I’m drafting, it’s very much living the story. Like, I’m very Bastian Balthazar Bux about that. I don’t insert myself, you know–that might be fun at some point, but–I’m just living, I’m finding things out along with my characters, and I’m really along for the ride, and I start to get inklings about what might happen, and it’s not always what happens, and that’s exciting. So, for me the act of writing has always been a little bit magical. It’s…I mean, there’s no reason why it should work out. There’s no reason why I should be able to just sit down with these threads of story and just plop down and write, and they’ll, like, twine themselves into some kind of a sensible arc and reach a, you know, a conclusion that makes sense, like, without planning it out. But it does. Every time it does, and that is just magic. So, for me, yeah, the act of writing is…just, writing anything, it doesn’t even have to be fantasy. Just the fact that you…there’s a story out there and it’s waiting to be discovered is very, very magical.
Have you found that the writing process, where you are drawing all these plot threads together and bringing the story out, has that gotten easier the more you do it or does it…has it changed for you? You’ve done many books now.
I have, and I’ve done standalones, and I’ve done series, duos…I actually realized the other day…well, I realized this about a year and a half ago…that Sleepwalk Society was a standalone, then Anna was a duo, then The Goddess War was a trilogy, and now Three Dark Crowns is a quartet, so I would either forge ahead and go for five or I should reset and go back to one, and I did. I reset and I went back to one. Probably the best, for the best, because…it’s really hard sometimes to get real deep into a series and you’re coming up on the conclusion and you’ve got a whole bunch of things just stretched out there waiting to be resolved and at the outset of that final book you’re looking at them flapping in the wind wondering, “How am I going to catch you?” Like how are you going to braid together to, you know, work yourselves out. And they do, I suppose, but it’s a little bit nerve racking. It hasn’t really changed, though, over the course of…the writing process, over the course of these books. The revision process has changed a lot, but the actual drafting has remained the same. It’s just very much getting to know the characters, letting the characters make their choices, and following the story wherever it wants to go.
Since you mentioned series, something I often ask series writers…the last interview that just went live was Kevin Hearne, who has like a ten-book series, the Iron Druid series…do you find any issues with continuity and remembering what you put in the previous books so you don’t contradict yourself in the current book?
Well, it’s always…I always think about that when I’m starting out, because I’m a pantser, and whenever I put something to paper, every once in a while I’ll think, “Man, I hope I’m not just writing myself into a corner,” you know, just making it so that there’s no way that I can get out of here, and then the last book just has to have a meteor strike and just take out everybody because that’s the only way. Which I suppose is always an option. But, no, I haven’t yet. It’s been OK, despite not having all of the rules in place and not knowing…like, I don’t know, often I don’t know the ins and outs of a locale until I bring a character there and walk around with them. I don’t know the ins and outs of a culture before I have a character’s excuse to go and learn about it, or a character’s…yeah, so, but it’s worked out OK so far. I will have just plain old flubs. A reader pointed out that in Two Dark Reigns, one of the characters…so there’s a line of queens, right, in these books, and the last three queens have been poisoner queens, which is unprecedented. Usually there’s not the same type. Nobody, like, three in a row just don’t win. So, the poisoners are kind of experiencing this dynasty of sorts and they’re kind of going mad with power and the three poisoner queens directly before this are Camille,, Nicola and Sylvia…or Camille, Sylvia, and Nicola, in that order…and in Two Dark Reigns they’re referred to as Camille, Sandrine, and Nicola, because in the very early timeline, which apparently I mistakenly worked off of, the second poisoner Queen’s name was Sandrine,. and then we changed it to Sylvia. I don’t even know why. So, that’s actually in print in Two Dark Reigns, and I’m thinking that we’re gonna have it fixed, but that was embarrassing. So, stuff like that does happen, yeah.
And it doesn’t seem to matter how many eyes look at it in the publishing side, ultimately it’s a reader that always seems to find these.
Isn’t it? Those readers. They’re good!
And speaking of readers, what do you hope readers get from your work? You mentioned escapism, are you looking for any other impact on their way of thinking or their life. I guess it sounds a bit grand, but this is called The Worldshapers, so, are you trying to shape the world with your fiction?
I’m not. I really want readers to enjoy it. I hope they care about the characters and I hope they care about the story and I hope they enjoy it. I’m…if. you know. Three Dark Crowns is set in a matriarchy, where women are in power, and they’re the heads of households, and that’s the way it’s always been, and nobody seems to bat an eye about that, I mean, if that leads some people to go, like, “Oh, yeah, why should we bat an eye about that,” well, that’s great. But I didn’t set out to do that.
I don’t think I’d recommend the system of government that has built up…
Oh, no, no. By no means do I mean to say that a matriarchy would be without flaw, because women are still humans and we just mess things up no matter what, no matter what gender we are we will mess it up, guaranteed, but…
That’s where stories come from!
Exactly. But, no, I often…sometimes folks ask me to, like, do keynote speeches, and I always caution them, because I love keynote speeches–I’ve listened to quite a few, just going to conventions and things, and they’re always so inspiring and just uplifting and, you know, all these great personal stories of things they’ve overcome or mentors that have affected them, and I just make it very clear that I’m …I don’t have those kind of stories and I’m not that kind of change-the-world, you know, writer. It’ll be mostly dick jokes and, yeah, just a lot of court-jestering for however long you want to have me up there. So, no. Like, I…I don’t want to say that I don’t take my work seriously, because I really, really do, but…and I hope that it has, for that rare reader I think, you know, maybe it does…you know, a really good book can change your world. It doesn’t really matter what it’s about. So, I hope that does happen for some people but I…I don’t think…you know, I’m not like a, I’m not like a Jason Reynolds or an Andy Thomas or a, just…yeah. I’m not that.
Well, when I think of the books that really had an impact on me, I don’t think, in most cases, they had any sort of impact that the author thought they might have. It just happened to be the right book and the right character hitting me at the right time to really make an impression on me.
Exactly. Yeah. And that’s true for me, too, as a reader. So, I don’t know, maybe that’s why I don’t have that hope, is you know…I hope that it will happen, but I don’t I don’t set out for that for sure. When I’m writing, it’s really just…honestly, I don’t think about audience much at all, I just want to serve the characters and tell the story as best I can.
Well, it seems like the readers are coming along for the ride, so that’s good. And speaking of that, what are you working on now? I mean, we know the fourth book is coming out in September, I think you said?
Yes. September 3rd. And I just finished it. We got a little behind. They…well, they asked me to do the novellas shortly after, I think, One Dark Throne was published. And at the time I was like, “Sure, yeah, what are they, like 25,000 words apiece? No problem, I can knock them out,” and no, that took a while. So, ever since then we’ve kind of been working from behind and so, we’re very late. Normally, I would be…they would all be wrapped up by now. We’d be through pass pages, everything would be set. And I just turned in another edit, like another decent-sized edit, and we tried to combine the line edits and the copy edits into that edit and I only had four days to turn it around.
So, it was tight. I’m still pretty happy with where it’s ending up. And…but, yeah. So that immediately was what I was working on. I’m going to be starting my next standalone, which hasn’t really been announced yet, but it’s kind of like a, kind of like a YA In Cold Blood mixed with Natural Born Killers. Are you familiar with the serial killer…he’s not a serial killer, he’s a spree killer…Charlie Starkweather and his girlfriend, Caril Ann Fugate?
The names vaguely ring a bell but that’s all I could say.
There’ve been a couple movies, like, based off of them, Badlands, and they were…they were teenagers and they just went on a killing spree that lasted several days, possibly a couple weeks, into…they just shot up the heartland and it was just very, very shocking, you know, just like In Cold Blood, the Clutter murders were shocking, things like that just didn’t happen in the heartland at that point in time. And Caril Ann Fugate was only thirteen when this happened, and she was tried as an accomplice, and she went to prison, and Charlie Starkweather, I think, was only fifteen or sixteen. I mean, these were kids. So, that story has always really interested me, and…it’s not going to be exactly like a retelling or based on them really at all, that’s just the inspiration. So, it’s gonna be kind of a twisty crime thriller. In a sense, that’s what I’m going to be working on next, and then I’ll go back to fantasy after that, but it will, I mean true to form, it will have kind of a horrifying fantasy-like spin because of the nature of the murders and the possibility of some supernatural involvement.
Does it have a title yet?
It doesn’t have…it has a working title, but it doesn’t have a title that I think is going to stick. Right now I’m just calling it…like the full title in my brain was, like, All These Bodies Without Blood, but I think…then we shortened it to All These Bodies, and I don’t know if All These Bodies will stay or if it’ll be something else by the time it comes out. I’m taking a year off, though. I need time to shift gears, and I really…I’m afraid of this book. I know what it needs to be and it’s one that I’ve had in my head long enough that I kind of know most of the beats. So, you could almost say that I’m plotting this one. And I haven’t felt up to it as a writer so far. I think I’m ready to try it now. But I need a lot of time.
Well, it certainly sounds intriguing. Well, we’re just about out of time here. So, where can people who want to keep up with your writing exploits, where can they find you online?
Well, my website is a good place to start, just KendareBlake.com. I try to keep the events updated. I’m not as good about keeping the blog updated. Maybe I’ll blog like once a year. I’m on Twitter, and if you @ me I will definitely do my best to reply. I’m on Instagram, ditto, if you tag me or something I’ll do my best to reply. And I’m also on Facebook. And those are all just my name. I’m not very creative with the handles, it’s just Kendare Blake. I don’t do Snapchat because I don’t get it and the filters scare me. But uh, yeah, you can definitely find me there.
All right, well, thanks so much for being on The Worldshup…Worldshapers, I can’t even pronounce the name of my own podcast…and I think I mispronounced your name in the introduction. You said…how do you pronounce it?
I say Kendar-ah but I don’t care. Whatever you say is fine.
I think I said Ken-dare off the top.
That’s fine. I get…if it starts with a K and you’re looking at me, I’ll answer to it.
Well, thanks so much for being on the podcast. I’ve really enjoyed talking to you.
Well thanks for having me. It was it was great to talk to you again after all these years.