Edward M. Lerner worked in high tech and aerospace for thirty years, as everything from engineer to senior vice president, for much of that time writing science fiction as his hobby. Since 2004 he has written full-time.
His novels range from near-future techno-thrillers, like Small Miracles and Energized, to traditional SF, like Dark Secret and his InterstellarNet series, to (collaborating with Larry Niven) the space-opera epic Fleet of Worlds series. Lerner’s 2015 novel, InterstellarNet: Enigma, won the inaugural Canopus Award “honoring excellence in interstellar writing.” His fiction has also been nominated for Locus, Prometheus, and Hugo awards. His most recent novel is the SF adventure Déjà Doomed.
Lerner’s short fiction has appeared in anthologies, collections, and many of the usual SF magazines and websites. He also writes about science and technology, notably including Trope‑ing the Light Fantastic: The Science Behind the Fiction.
An hour-long interview with Nancy Kress, bestselling Nebula, Hugo, Sturgeon, and Campbell Award-winning author of thirty science fiction and fantasy novels and novellas and five short-story collections, including Beggars in Spain, Probability Space, and Steal Across the Sky, as well as three non-fiction books for Writer’s Digest on the fundamentals of writing.
Nancy Kress is the bestselling author of thirty science fiction and fantasy novels and novellas and five short-story collections. Among her books are Beggars in Spain, Probability Space, and Steal Across the Sky. She’s also published three non-fiction books for Writer’s Digest on the fundamentals of writing.Nancy is a six-time Nebula Award winner, including two consecutive awards for her novellas “After the Fall,” “Before the Fall,” “During the Fall,” and “Yesterday’s Kin.” She’s also the recipient of the Sturgeon and Campbell Awards, as well as two Hugo Awards. Her fiction has been translated into nearly two dozen languages, including Klingon. She teaches writing at workshops, including Clarion West and Taos Toolbox, as well as at the University of Leipzig in Germany as a guest professor. She lives in Seattle, Washington, with her husband, the author Jack Skillingstead.
The (Lightly Edited) Transcript
So, welcome to The Worldshapers, Nancy.
Thank you, Ed.
I don’t believe we’ve ever met in person. I’m sure we must have been at the same conventions at the same time, but I don’t think we’ve ever actually spoken in person.
Since I’ve been going to conventions for 40 years, I’m sure we were there some time together.
So, I’m very happy to have you. We’re going to talk about a couple of things, a new novella called “Sea Change” and upcoming novel, The Eleventh Gate. But before we get to that, let’s do the background information. So where did you grow up and how did you get interested in writing? Most of us started as kids, or at least we started reading as kids. And that’s what turned us on to science fiction and fantasy. Was that how it was for you?
No, not exactly. I grew up in the 1950s in a small town, and we lived way out in the country. And my mother did not drive and my father had the car away at work, so I didn’t get into town very often. The books that were available to me, other than the ones at home, were in the school library. And remember, this was the ‘50s. When I was a child, the library was divided into a boys’ section and a girls’ section, and all of the science fiction, with little rocketships on the spines, was shelved in the boys’ section, and all of the fantasy in the girls’ section. So I read Andrew Lang’s Red Fairy Book, and Green Fairy Book, and Plaid Fairy Book and Polka-Dot Fairy Book and all the rest of them, and some fantasy, but no science fiction.
I didn’t see any science fiction until I was fourteen. I had my first boyfriend, who lived down the road and was studying to be a concert pianist. And every day after school, I would go over to his house and hang over the piano adoringly while he practiced. And the problem with that is that I’m tone-deaf and I can only hang adoringly for about ten minutes. And after that, I started inching towards the bookshelves in his parents’ house and pulling out books at random. And one of the books that I pulled out was Arthur C. Clarke’s Childhood’s End. And in five minutes, I was in love, and not with the pianist. I’d never seen anything this…wide…with such a large canvas, so grand. And I immediately got very interested in it.
But I didn’t think of myself as a writer. Again, my mother was Italian-American. She raised me in the way she’d been raised, and she sat me down when I was twelve and said, “Do you want to be a teacher, a nurse or a secretary?” Those were all the things she could imagine. And I said, “A teacher, I want to teach kids.” She said, “OK, you’ll have to go to college for that.” And that’s what I did. I taught the fourth grade for four years after I graduated from college, and I didn’t start writing until I was almost 30. It didn’t occur to me that this was even possible. As a child, a young child like eight or nine, I didn’t know that anybody was a writer. I thought all writers were dead. The writers I was reading were like Louisa May Alcott and Zane Grey and the Nancy Drew books, and I assumed it was a finite resource like oil, and we were going to run out of it eventually.
Peak author. So, you did go into writing, but you did start writing fiction, right away. You were writing…you went into the sort of corporate copy and that sort of side of writing to begin with, didn’t you?
That actually was later.
Oh, was it?
That was later. I started writing when I was pregnant with my second child. I was home, again, living out in the country, with a toddler and a difficult pregnancy and alone a lot of the day with the kids. And when they were napping, I started writing to have something to do that didn’t involve Sesame Street and had words of more than two syllables. And I didn’t take it seriously for a long time. I was a mother, and that was what I was doing, and I was taking my graduate work in elementary education because I assumed I’d go back to that, which I actually never did. And I would send stories out and they would come back and I’d send them out and they would come back. And then after a year, one of them sold. And then, after another year, another one sold, and slowly it began to dawn on me that I really like doing that better than teaching the fourth grade.
I see from the bio that you have on your website your first story was what you termed the “eminently forgettable” “The Earth Dwellers,” which appeared in Galaxy in 1976. I remember Galaxy; I had a subscription to Galaxy for a while. I probably read it.
But what I did not know, Ed, was that Galaxy, at the time they brought my story, was trembling on the verge of bankruptcy, and everybody who knew anything, which did not include me, had stopped sending them material. So, I think they bought my story partly out of desperation. And then they promptly went out of business right after that and declared bankruptcy. And it took me three years to get my $105. I kept writing to Saul Cohan over and over again, saying, “This is my first story, and I really, really want the payment.” And finally, they sent me a cheque. Whining has its uses.
Your first novel came out about five years after that, right?
Yes. And it was a fantasy. The first three novels were fantasies. And then I switched to science fiction. And I really don’t know why, because nothing about my career has been planned. I didn’t plan on being a writer. I didn’t plan on writing fantasy novels. I didn’t plan on switching to science fiction novels. I have never done what many people say you’re supposed to do, which is build a brand. And as a result, the whole thing has a certain haphazard luck to it.
Well, I think one of the things I find doing this podcast is that every writer comes to it from a different direction and in a different path. And, you know, people ask, “How do you become a writer?” And it’s, well, there’s a different story for everybody that becomes one, it seems to me.
Yes, that’s absolutely right.
You did get a master’s in English. Did you take any actual creative writing courses at any point? I ask that because I get widely varying opinions from authors as to whether those did them any good or not, the ones who took them.
I took one, and I was fortunate because the instructor liked and understood science fiction. He didn’t write it himself, but he liked it and he understood it. Other people I’ve talked to, writers, have had very bad experiences because their instructors…I know one writer whose instructor told him, “I don’t know why reality isn’t enough for you.” But this was useful to me. I had just started to write, and it was useful because it explained things like what a point of view is and why it’s nice to have one and other basic things that, even though I had always been a reader, ever since I was a little kid, I would read absolutely anything, if there was nothing else available. The back of a cereal box would do, but I’d never thought about the mechanics of it. And so, yes, it was useful. And because it was a critique class, it was also useful to get the feedback from other students in the class who were at least readers, or they wouldn’t have been there.
Yes, I often ask people who started writing as a kid, as some did, like I did. And I would share my…I sort of did the critique thing. I would share my stories with my classmates. And I found out that they actually liked my stories and that at least gave me some income, an indication that, you know, I could tell a story that maybe somebody would be interested in reading. You actually…I got ahead of myself previously, but you did work writing corporate copy and advertising copy and that sort of thing for a while.
Yeah, that came a little later. After I got my master’s degree in English and my kids were old enough to go back to school, to start school, I realized I didn’t want to teach the fourth grade, and I know I probably wouldn’t have been able to even if I had wanted to, because it was the baby bust, and they were laying off elementary teachers, not hiring them. So I took work as an adjunct at the university. And then for a couple of years, I filled in full time, not tenure track, but when somebody was going on sabbatical, I would fill in and take over for them in the English department. So I taught college for a couple of years. And then, because that’s a sort of hit-and-miss thing, I needed a real job because I was getting divorced. And that’s when I went to work for an ad agency and wrote corporate copy, internal copy, mostly for Xerox.
Did you find that type of writing has helped you in any way in your fiction writing? I always say writing is writing, and you can get some benefit out of just about any kind of writing you do.
I found it interesting and useful, not so much from a writing standpoint, but from the viewpoint…because I already published a couple of novels by then and a whole bunch of short stories…I found it useful in understanding how the world works and especially how power works. I had been in academe my whole life as a student, as a fourth-grade teacher, as a college teacher. The corporate world is much different. And it was an education for me to see how…because I was writing for executives, mostly. I would be writing scripted slideshows, speeches, things like that, starting with newsletters and then working my way up. And it was very interesting to see that the corporate world runs on entirely different principles. And it was useful in that respect. As far as the actual writing, less so, because corporations want things phrased in ways that are almost antithetical to good English. I had spent a lot of years learning to write clear sentences, but clear sentences tend not to disguise responsibility so much as the use of passive verbs. You don’t say “so-and-so decided,” you say, “it was decided that.” And large words…a Lot of terrible words were coming into use at that time. “Incentivize,” “negative profits,” things like that, that they wanted included in the copy. So, the writing was not…it didn’t help the writing in that sense, but it did help my education, which had been pretty sheltered, about how the world works.
And then, when did you start writing about writing? You said you’d already been teaching writing some. And you wrote a column for many years for Writer’s Digest. When did that all come along?
Yes. The column came first. The college where I was teaching, State University in New York at Brockport, on a hit-and-miss basis, ran a bunch of summer workshops called the Writer’s Forum, and they had a section for…where they brought in, paired one faculty member with one visiting writer. They had a section for poetry, a section for fiction, a section for journalism, all kinds of them. And somebody decided that a section for science fiction would be good. And this was very useful to me because I got to bring in, every summer for a week, another science fiction writer, who stayed at my house and we talked together. And this forged a lot of alliances and friendships that were very valuable to me. My first year, I taught with Frederick Pohl, the second with Gene Wolfe, the third with Connie Willis, and it went on and on like that. And I really, really enjoyed those.
But one of the other sections was magazine writing, which was being taught by a visiting person who was one of the editors on Writers Digest. And he said to me, “You know, you should you should write a column for us.” First, he said, “You should write some articles for us.” So, I wrote three articles, which they published, and then their regular fiction columnist, Lawrence Block, was ready to leave. He was getting tired of the whole thing. So, he left, and they hired me to do that, and I wrote the Writer’s Digest column for sixteen years. It really was just an extension of my teaching, because by that time I was teaching a lot of writing. And then out of that grew the three books on writing.
I’m currently writer-in-residence at the Saskatoon Public Library, my nine-month term is just wrapping up, and I’ve done that on another occasion, and I’ve taught short courses here and there along the way, and I’ve always found that trying to tell other people how to write is very beneficial to me in figuring out how I can do what I do better. Do you find that you learn from being a teacher?
Yes, very much. Every summer, Walter Jon Williams and I teach a two-week intensive workshop called Taos Toolbox in Taos, New Mexico. And our guest visiting writer is George R.R. Martin every year. And we…in fact, I’m reading manuscripts right now to choose our 18 students. And I find that going over these manuscripts…because it’s really, we work them very hard. In addition to being in class to do critiquing of each other’s work, we also assign exercises, and we do analysis of fiction, successful fiction, all kinds of things. And I get an awful lot out of that every year. The students bring different manuscripts every year, of course, and a wide variety of them. Some fantasy, some science fiction, some space opera, some military fiction. And I find it useful to me to try to figure out why a story isn’t working. It’s easy with the manuscripts that need a lot of attention, but very often at this level, you get manuscripts where they’re not quite working, but you’re not quite sure why. And sitting down, trying to pinpoint exactly why this isn’t working, and what might make it work, has a lot of carryover into my own work.
Well, let’s talk about your own work. Two pieces I wanted to talk about, and maybe we’ll start with “Sea Change,” which is the novella that’s out from Tachyon. First of all, maybe give us a synopsis of it without giving away anything you don’t want to give away.
OK. “Sea Change” concerns three things. It’s a story about the genetic engineering of crops, GMOs are a very controversial subject, obviously, and I wanted to present both sides of this, although it’s clear which side I’m going to be coming down on, I think from the beginning. That’s one strand that went into the story. Another strand that went into the story is ocean blobs that we are increasing the getting off the West Coast. Seattle is my adopted city. I love it. I came here ten years ago to marry my husband, and I just love Seattle. It’s gorgeous. Every once in a while, off the coast, beaches are closed because we get blobs, ocean blobs. And they’re usually not harmful. They’re caused by runoffs from rivers and creeks with a lot of fertilizer in them, which causes the ocean algae to just go crazy and bloom, Everything under them, because the algae bloom is so dense, dies. That wouldn’t be a problem in itself, because they do break up eventually in the fall, except that every once in a while, certain bacteria combine with the blooms and they produce a toxin called domoic acid that poisons fish, that poisons sea lions, that poisons the small fish, then the larger fish eat them, and then the sea lions eat those, and you get a perfect disaster. And then the beaches are closed because it can also poison people.
The third strand that went into the novella was a love story. In fact, if I had it to do over again, I would probably call it “Sea Change: A Love Story.” But by the time this occurred to me, the novella had already been printed, and I didn’t think that Tachyon was going to want to go changing the title at that point. But it is very much a love story.
Now, one thing I wanted to ask you about was the difference between planning for a novella and planning for a novel. So, maybe we’ll also just flip over and you can give a brief synopsis of the novel as well. And then we’ll sort of talk about everything at once. So, the novel that’s coming out is called The Eleventh Gate, and it’s quite different. It’s a far-future space opera.
Yes, it is. I’ve always wanted to write a space opera because that was the kind of thing I was reading when I first discovered science fiction. I was reading Asimov’s Foundation series, I was reading that sort of thing, and I wanted to write a space opera. But I haven’t ever actually done it.
So, that one takes place in a pretty far future after Earth has been environmentally trashed and hardly anybody lives there anymore. There’s a couple of holdouts, but not very many. Gates have been discovered orbiting the moon. They’re hard to see, but. And we’re not up there very much. But once they get there, they find them and they lead to eight other planets. So, all of these get settled by various different groups from Earth, the eight worlds, and they are connected with these space gates that you can go through. There are ten space gates connecting the various planets because some have two, going from one planet to another. And then, someone discovers an eleventh gate. And what’s behind the eleventh gate changes everything, including the very precarious truce, balance of economic and political power among the eight worlds. And that’s what I wanted to write about, the balance of political and economic power. And I wanted to do it through certain characters, many of them women, but not all, who are very varied in belief, in temperament. None of them is somebody…well, maybe one…but other than that, nobody is someone you can say, “Oh, this is clearly the heroine. This is the good person. This is the one I want to identify with.” I was trying to make them all having the flaws of their particular backgrounds. And a few of them are just batshit crazy.
So, these are two very different stories. This is a cliched question, but it’s still a valid question, which is, I hate to say, “Where do you get your ideas?” But let’s say what inspired you to write each of these…you mentioned a little bit, I think, on “Sea Change”…and is this typical of the way that story ideas come to you?
Well, more and more, I have been writing hard SF, which “Sea Change” is. The science in it is all completely accurate. That wasn’t true when I started writing. I was writing soft science fiction, in which it didn’t really matter if the science hung together. And that transitioned into, I guess, high-viscosity science fiction, if not actually hard. And now, I write hard SF. So, although I can’t usually pinpoint where a specific idea came from, and with “Sea Change” it would also be difficult. It came off the general area of genetic engineering, which I read about a lot, and which I am obsessively interested in. I’m not trained as a scientist. I wish I were, but it’s a little late for that. But I read about it, I learn about it, because this is the future. This is where we’re going. And “Sea Change” is a direct outgrowth of that interest.
The specific idea started, as all of my stories start, with a character. And this time it was the character of an old man, a patriarch, still very powerful, who runs a world and who is brought a business proposition he can’t refuse. And from there, once I had this, I wrote, as I always do, I wrote the first scene sort of in a white-hot heat. And then I sat down and said, “OK, what have I got here? Who is this person? Who is this other person? Where is this going? What are the implications of the situation I’ve set up?” And the same thing is true of (The Eleventh Gate). The first couple of scenes came to me, and then I write them, and then I sit down and I start thinking about first the characters and the situation, and then secondly, the things I’ve learned painfully about structure. Structure came harder to me than characterization, which is one reason why my short stories for a very long time were more successful than my novels.
So it sounds like you….basically it’s a process of self-interrogation, where you have the initial thought, and then you ask yourself a lot of questions. Is that a fair way to describe that?
That’s half of it. That’s the questioning part that is intellectual. Because there are two questions that guide the construction of all fiction, basically. One is, “What do these people want?” If your characters don’t want anything, you really don’t have a piece of fiction. Sometimes maybe all they really want in a short story is to be left alone. But it’s better…and the longer the work, the more things they have to want and the more they have to want them intensely. So you ask, “What do these people want?” And the other question is, “What can go wrong?” Because that’s where the conflict comes from. If your character wants something and then they go out and get it, you really don’t have a story there, either.
So intellectually, those two questions guide me. But on the other side, it’s a little more mystical. It’s like the Stanislavski method of acting, where you become the character. I try to become this person from the inside out. When I write “Sea Change,” I am Renata. And if…when this goes well—and it doesn’t every day, but some days it does—my life disappears. I disappear. The room around me disappears. I am Renata, and I’m in this space, and what Renata would do next comes to me naturally because I’m in her mind, I’m in her heart, or she’s in mine. And that’s the other part of how I proceed. I know this sounds like a mishmash of intellectual combined with mystical. But that’s kind of how it is.
Have you done any theater?
Have I done what?
Theater. Any acting?
No. No. I don’t think…my sister is an actress. She’s a very good actress. But I don’t think I could do it. I’m…like many writers, not all, but many. I’m very much an introvert. And the idea that I have to get out there and interact with people every night for eight shows a week. It wouldn’t work. Also, I’m a morning person.
Well, that really doesn’t work.
No, it really doesn’t work. They wouldn’t let me go home at nine o’clock at night. So, no.
So, I asked that partly because I am an actor and have done, both professional…
Oh! What kind of acting do you do?
Mostly stage acting. I’ve done a lot of musicals.
That’s what my sister does. Well, she doesn’t do musicals too much anymore. She started with it. Because her voice isn’t trained, and as she’s gotten older, it’s gotten a little rusty. But she’s…she had marvelous stage presence. She still does. She does a lot of Shakespeare.
The reason I asked was what you’re describing is, of course, the acting process, you know, however you approach it, you pretend to be somebody else, you try to inhabit that person and bring them to life on stage. And the authors I’ve spoken to who have done stage acting find that it’s, the two processes are very similar. So, yeah. Absolutely. And now, what does your actual planning…
I didn’t come to it that way, though. I came to it as a reader. Even as a girl, what I would read something, the whole world would go away. My mother would get quite irritated because she’d have to say my name three or four times before I’d even hear her. I became those people in those books. And that kind of identification for me grew out of reading, not acting.
Yeah, I had both.
So, what does your actual planning/outlining process look like? Do you do a detailed outline? Do you do just kind of a sketch, or what does your planning look like? And how is it different for the shorter work as opposed to the longer work?
The shorter work doesn’t really have any planning. The shorter work I kind of write, and about halfway through it all comes together in my mind. By shorter, I’m saying something under 10,000 words. And when you grow things organically that way, a certain number of them die. And that has happened. I have a whole file full of unfinished short stories that will never be finished because it just dried up on me.
That doesn’t work for longer work. For novellas or novels, you have to have some sort of structure. And structure has been harder for me to learn than characterization or language. What I do now is…I don’t know everything that’s going to happen, but I have a general idea where I’m going, and what I will do, as I did this morning, is I will sit down and I’ll think, “OK, this is the next scene, and this is the one after that, and the one after that might be this.” And I’ll make notes of those three scenes, and as they get a little clearer in my mind, I’ll sit down—going with the general direction that I know I’m moving—and I’ll write…I’ll begin work on one of those scenes. And by the time I finished it, I’m hoping that a couple more will have become clear to get where I need to go.
There are certain things I will check for, too, as I’m going along. You need to have the stakes rising throughout the story, as they do in “Sea Change.” You need to have the conflict escalating. You need to move towards some sort of climax. And you need to make sure that there isn’t too much after the climax or it will be…anticlimactic! So, there is a certain structure that I have in my head, and it’s built around, again, those two questions, “What do these people want?” and “What can go wrong?”
And what they want might change. In fact, for the length of an entire novel, it has to. When I’m teaching, I point out to my students…I can’t count that they all have read the same stuff, although I give them some short stories and we talk about those. But I can usually count on some movies they’ve seen, one of which is Star Wars. So, we talk about that in terms of what Luke wants at the beginning, which is to get the hell off Tatooine, and what he wants after that, which is to find Obi-Wan Kenobi, and on through his changing desire to become a Jedi knight, too, and right up to where his desire is to destroy the Death Star. What he wants changes and builds, and it also raises the stakes each time. So, those things kind of guide me as I fumble my way through the manuscript.
How much of this do you write down ahead of time?
Not a lot. I make a lot of notes on the science because, again, I’m not trained on that. And I will do a lot of research and a lot of notes on the science and how I can use it. Science itself suggests a lot of plot points. The more I found out about domoic acid, the more plot points came through for “Sea Change.” So, the science itself will guide it. What the characters are like will guide it. Other characters’ reactions to my protagonist will guide it. The process…I know it sounds messy, but that’s because it is messy. I can’t…I don’t outline. I’m kind of in awe of writers who do outline in detail because I can’t do that.
I think my…the example I keep giving from the people I’ve talked to on the podcast is Peter V. Brett, author of The Demon Cycle. And he writes 150-page outlines before he starts writing. And that’s the most detailed outliner I’ve encountered yet in the podcast.
That’s amazing. I would feel like I’d written the whole book. I would need to write it, then.
Yeah, I don’t think I would work for me either. What is your actual writing process look like? Do you, you know, get a quill pen and sit under a tree, or…?
No. I write mornings. If it doesn’t get written by noon, it doesn’t get written. In the afternoon, I will do research and publicity and student manuscripts and stuff like that. But in the morning, I get up very early, like five o’clock. And that hasn’t always been the case, but it’s been…well, it’s been the case for much of my adult life. First, I needed to get up and write before my children got up, and then by that time, it was already ingrained. It was too late to change. But I get up, and for the first hour, I drink the first cup of coffee, I putter around the kitchen, I look at the e-mail, but don’t answer it, I check CNN to make sure nothing has blown up overnight, things like that. And then, around six, I settle in and I write…I work for several hours.
And do you do a…getting to the revision process, do you just barrel through to the end and then go back and revise, or do you revise along the way or how does that work for you?
Both. The plotting of scenes and the thinking about them is all done on a clipboard with yellow legal pads. The actual writing of words that will go into the story is done on a computer. And usually, I write the whole thing straight through. But if I feel that I’m in trouble, then I will stop and go back and rethink it, with my little clipboard and my yellow pages, and sometimes dump large sections of what I’ve written and then go back to the computer and write new sections. But I try not to do that too much. I try to have some sense of what I’m doing. The first half is always messier than the second half, because by the second half I really know what I’m doing.
That’s a first draft. The second draft, I will revise major things, characterization problems, scenes that are missing that I think I need now. I keep sort of running list of these as I’m working. And that’s the big stuff. The third draft, I go through and I clean up. I also, on the second draft, will pick up things where…I don’t want to stop writing, so I write in triple parentheses, “Find this out later,” and then keep going. These are details that I just don’t want to stop and research at the time.
And I have to say the computer and the Internet make this so much easier. I remember when I first started to write, this was in the ’80s, and the Internet didn’t exist, and I needed to know for some story long forgotten how high a regulation basketball hoop was from the gym floor. This required a trip over to the university library, trying to find it myself, failing, bothering the reference librarian, and she and I riffled through things till we finally find it, then I had to trudge all the way home. There’s a couple of hours involved for this stupid little detail.
I remember those days, yeah.
Oh, yeah. Now, it’s so easy. It’s so nice to be able to do it on the Internet and find out instantly how high that basketball hoop is supposed to be.
As long as you’re disciplined enough not to then end up finding yourself reading a history of the National Basketball Association or something like that along the way.
Well, with sports, that’s not really a temptation for me. The only sports I’m really interested in are the Seattle Seahawks.
Do you have anybody that reads…like, beta readers that some authors like to use, or is it just you…
Oh, well, yeah. I was going to ask you about being married to a writer. So there you go.
Yes. Before Jack, I was married to Charles Sheffield, who died of a brain tumor in 2002. So, it’s been two writers. And in each case, we looked at each other’s manuscripts and made suggestions. And yes, that’s very, very helpful.
I married an engineer, who is not much help to me as a writer, but has been a great help to me on the family income side.
Yes, I can imagine.
Good career move on my part. She hates that joke, but it’s true. So, once you have your final draft, then it goes to the editor, what kind of editorial feedback to you typically get on your work?
Oh, it varies so much by editor. There are editors who do absolutely no editorial work. Obviously, they send it to a copy editor, who will go over it and look for factual errors and inconsistencies, and why does she have blue eyes in Chapter 3 and green eyes in Chapter 18, that kind of thing. But I’ve had editors that have made extremely useful, substantive suggestions, and I’ve had editors that I’m not absolutely positive read the manuscript.
You’ve worked with a lot of different publishers over the years, haven’t you?
Yes, yes. For a while, they kind of kept going…amalgamating or going bankrupt or whatever. I followed David Hartwell around for a while from different posts, and that was kind of nice. And then eventually, I was working with Jim Minz, his assistant, and then Jim left, and I went to a different publisher. And now I’m back with Jim Minz at Baen, that’s publishing The Eleventh Gate, which I’m very pleased to be back working with him. And in the meantime, the novella is a standalone…
Well, the novella is my favorite form. Science fiction, for reasons that defy understanding, defines a novella as between 17,500 and 40,000 words, and my novellas are usually pushing up at the 40,000-word mark. It’s my favorite form because a novella is short enough to need a single plotline to go barreling through, long enough to create an alternate world or a believable future. In a novel, on the other hand, you need not only a main plot but braided plots on top of that, and I find that more challenging. I really like novellas. Almost all of my awards are for novellas.
Is the editing process different for those than for novels?
Not really. Some editors give me useful feedback, things that they think need to be strengthened. That happened with “Sea Change.” I got some very useful information from Jacob (Weisman) about the ending on that. And I rewrote the ending to strengthen it. But some do and some don’t. It depends on both the editor and the work.
I have been with…DAW is my major publisher, and so I’ve worked with Sheila Gilbert. I’ve only had the one editor for my major books. And so, it’s always interesting to me to talk to people about working with a variety of editors. I have worked with other editors of smaller publishers, but Sheila is so good, I don’t know what it’d be like to work with a different editor.
I’ve never had the pleasure of working with Sheila.
Well, we’re getting close-ish to the end, so I want to move on to the big philosophical questions. You’ve done a lot of thinking about writing and a lot of teaching of writing, so this should be easy for you. Why do you write? Why do you think any of us write, first of all, and why science fiction and fantasy specifically?
There are days when I think I have no idea why anybody writes. But, you know, actually, that’s a difficult question, Ed. I’ve done this for so long, for forty years now, that it’s so deeply ingrained in me to think in terms of stories that I can’t imagine…oh, I can’t say I can’t imagine doing anything else, because I’ve done other things. I’ve taught the fourth grade, I wrote corporate copy. If you go back far enough in my college days, I waitressed in the summers. I mean, I have done other things. And of course, I was a full-time mother for a number of years, so I can imagine doing other things. But I have always told myself stories. Long before I knew I was going to be a writer, I told myself stories as I fell asleep, in which I was always the heroine. Since the 1950s Saturday morning consisted of cartoons and westerns, these were westerns. We weren’t allowed to watch television except on Saturday morning. So, I would invent gangs of my Western heroes, Hopalong Cassidy and Gene Autry and the Lone Ranger and all the rest of it. And I’d be a member of this gang, too, and I’d invent all these stories and tell myself a different chapter every night. Stories were ingrained, and I think that the human brain is built to understand the world in terms of stories.
Og, sitting around the campfire, tells a story about the great hunt he did that day, and then everybody else wants to go where Og went and kill a bison where he killed one. We’re meant to understand the world in terms of stories. And I think that’s why even people who don’t read usually watch television, with its versions of stories, and movies.
And Og embellished his story, too, the more often he told it,
Oh, Og was a terrible liar. Can’t believe a word the man says.
So, why do you think we, those of us who do, why do you think we write within the science fiction and fantasy genres specifically?
So, that’s a little harder to understand. I think, though, that it’s a large enough canvas, it’s especially suited—and this really is a cliché—to exploring ideas: political ideas, scientific ideas. It’s a rehearsal for different ways that we might live, or rather an exploration of different ways that we might live. My favorite SF writer of all time is Ursula LeGuin. And I have read The Dispossessed until my copy fell apart and I had to buy a new one. I’ve also taught it on two continents. She’s taken there the idea of anarchy, and she’s saying, “Would this be a viable way for us to live? And if so, what might it look like?” And I think that’s what science fiction does.
With “Sea Change,” I’m saying, “OK, what if we really were serious about the genetic engineering of crops, what might drive us to do that and what might it look like if we did?” And I think you can do that with most fiction, and with science fiction and fantasy you can especially do it because you can alter whatever you want to alter and put it under a kind of a microscope and say, “OK, if this were different, how would it affect us as humans?” And then you can write about it and look at it.
Well, this podcast is called The Worldshapers, and of course, the idea is of the writers shaping the worlds that they’re writing about, but do you think or hope that your fiction might have shaped the real world in some way, or if that’s too grand, at least shaped readers in some way to think differently?
I have readers who write me and who tell me that Beggars in Spain changed them, yes. That’s my most famous novel. It’s about people genetically engineered to not need to sleep.
I remember it well.
Well, that’s not really what it’s about. It’s about other things, as well. But I don’t know. I think there are very few books in history that have had that kind of impact—I don’t mean the kind of impact of Beggars in Spain, I mean a genuinely large impact—and even fewer that have shaped politics, economics, even science. Rachel Carson’s Silent Spring would be one. Uncle Tom’s Cabin would be one in terms of giving a huge impetus to the abolition movement before the civil war.
Maybe some of Dickens?
Some of Dickens, yes, for child labor. But I don’t think there’s a lot of them. I don’t think that they shape a specific thing, so much a specific event or a specific situation, as they do shape the way that readers of science fiction, good science fiction, at least, have a certain flexibility of mind. They can look and entertain at least the possibility that things could be different than they are now.
And not everybody can do that. I have relatives who never read fiction. They say, “Why would I want to read it if it didn’t happen?” And this is completely alien to me. They also have very practical minds. They look at the world as it is and try to say, “OK, why do I want to do with what’s here?” But they never look at the world the way it is and say, “How could this be different?” And for me, that’s the most interesting part about fiction. How could this be different? How could I be different? How could what I do be different? How could what’s around me be different? And science fiction, I think, is particularly well suited to that.
And of course, there’s the fact that it’s fun.
It is fun.
Both to read and write. I think, anyway. So what are you working on now?
Well, I don’t like to talk about work in progress very much, but I am working on a novel that is about the nature of human consciousness. Nothing like taking on a large subject, is there?
So it’s a short story, then.
It’s already, it’s not done and it’s already longer than it’s supposed to be.
And coming up, we have The Eleventh Gate, I think will be out just before this goes live. So that will be the freshest thing, I think, when the podcast goes live. Where can people find you online, or learn more about you?
I have a website, nancykress.com. I have a Facebook feed, but I’m not on it, I’m afraid, very much, or at all, anymore. So, that’s probably not good. But anybody who wants to contact me can do it through the website. And the publication date for “Sea Change” has been pushed back due to the coronavirus. Jacob pointed out that there are actually no bookstores to ship this book to. So, we’re hoping that by the end of May, when is a new pub date, that there will be.
Is that for “Sea Change” or The Eleventh Gate?
Yes, both of them.
Both of them. Yes, and I was going to say, well, and people can find you at conventions, but not for a while, it looks like.
Not for a bit. And of course, both books will be available on Amazon. Along with everything else in the world.
All right. Well, I think that about wraps it up, so thanks so much for being a guest on The Worldshapers. It’s been a great conversation. I hope you enjoyed it as much as I did.
I really did. Thank you for having me, Ed. I guess I didn’t equal Scott Card’s two hours’ worth of talking, but…
Yes. Well, Scott said that he went on because I would let him talk and didn’t interrupt. And so, his default is, if the interviewer is not saying anything, I should fill the space. And so, I got two hours out of him.
Anyway, thanks so much for being on and hope to actually meet you in person sometime in the future.
Well, I’m supposed to be Guest of Honor at WorldCon in D.C. in 2021, if it happens.
Yeah, and I’d like to be there. So hopefully, I’ll see you there if not before.
As a professional puppeteer and voice actor, Mary Robinette has performed for Lazy Town, the Center for Puppetry Arts, and Jim Henson Pictures, and founded Other Hand Productions. Her designs have garnered two Unima-USA Citations of Excellence, the highest award an American puppeteer can achieve, and she records fiction for authors such as Seanan McGuire, John Scalzi, and Cory Doctorow. Mary Robinette lives in Nashville with her husband, Rob, and over a dozen manual typewriters.
Welcome to The Worldshapers, Mary Robinette.
Thank you so much for having me.
I’m glad to have you. I have to confess, I haven’t quite finished Calculating Stars. I was working on it, so I’m about, I don’t know, three quarters of the way through. But you won’t give any spoilers anyway, because I’m going to get you to synopsize here in a little bit for people who haven’t read it.
But I’m enjoying it very much. And not least because I’m married to an engineer…
…who identifies with some of the situations in the story.
Yes. Yes. I’ve found that the people in STEM have a strong connection to certain aspects, especially women in STEM.
Well, before we get to that, I’ll take you back into—I always say this, it’s becoming a cliché on the podcast—I will take you back into the mists of time, to find out how you, first of all, became interested in writing, and specifically writing science fiction. How you got started, in other words, and maybe a little bit about, you know, where you grew up and all that kind of stuff.
So, I grew up in North Carolina. My dad worked for IBM and he used to take me to visit him at work sometimes. They had the…it was in the days when the computers were still ginormous rooms and we didn’t yet have personal computers. There were gerbil tubes connecting the buildings. The first programming that I did was my name with punch cards. And so that was…it felt very science fictional. It felt very much like what you’d see on the Jetsons and things like that. And then we also would watch…like, I got connected to Doctor Who, you know, Tom Baker was my doctor. And we listened to Hitchhiker’s Guide to the Galaxy on the radio. So there is not a point in my life where I remember discovering science fiction, it was something that was just always present. Like, the earliest books that I read that I have concrete memories of are things like Enchantress from the Stars.
I remember that one.
Yeah, so good. And you know, of course, other things like A Wrinkle in Time, and all of these books, which were just shelved as books. But I gravitated to the ones that had a fantastic element. When I started writing, which I did pretty young, my mom sent me to a writing workshop camp. I was basically writing the things that I was reading, and since I was reading science fiction and fantasy, it seemed only natural that that’s what I was also writing. My friends also were into that.
So, some of the earliest stuff that I was writing was actually…we had this, we called it “The Note.” It was a notebook. And we would pass it to each other between classes and write a co-operative story and then pass it to the next person who would pick it up and continue on. So, it was very much a part of my life, but I was also one of those kids who wanted to do everything, so…
I was an art major—I went to school to be an art major—and I performed with a puppet company, a puppet troupe, in high school, and then my junior year of college left to do an internship at the Center for Puppetry Arts in Atlanta, Georgia, intending to go back…and never did, and then had a twenty-five-year career in puppetry. But the first ten of that, more or less, somewhere in there, I stopped writing because I was getting my creative jollies from puppetry. So for me, it’s all varying forms of storytelling.
You’re the first one I’ve talked to who’s done puppetry. I’ve talked to several authors, myself included, who have a theatrical background. And I always like to ask if that theatrical side, and I mean, puppetry is a form of theatre, it’s a little different than moving actors around on stage, but you’re still moving, you know, things in relationship to each other and characters interacting with each other. Have you found that your puppetry has helped you with your writing?
Yes, absolutely. It absolutely has. First of all, because puppeteers are actors and we are doing theatre. It’s just that the…rather than putting on a costume, we have an external manifestation. But we are still acting. We…the derogatory term that we have for poor people who do not do puppetry are “meat puppets,” or “meat actors.” Meat actors is what we usually go with, or a “fleshy” as opposed to a “plushy.”.
I’m going to remember that.
Yeah. But it is very much acting. I think of it as the Ginger Rogers of theatre. I have to do everything that you’d have to do, backwards in high heels. So, there’s multiple advantages to it, one of which is that, because I am working an inanimate object, my job as a puppeteer requires me to take the body language that we do naturally, that we often don’t even think about, we just do it, break it apart into its semantic components, and then reconstruct it in an inanimate object in a form that is human-readable.
That is essentially what I am doing as a writer, as well. I have to understand the basic components, semantic pieces of body language, and here I am, the tool that I’m using to reconstruct them, are words on a page. But the basic building blocks or components are the same. For instance, if someone is curious about something, they’ll do what we call an aggressive motion, which is a movement towards. If there’s something they don’t want to engage with, they’ll do a regressive motion. And while it’s very easy to do that with a puppet—and as an actor, you’ll do it without even thinking about it, very naturally—on the page, it also plays out the same way. There’s a very big difference between, “‘What did you say?” She leaned across the table,” and, “‘What did you say?’ She pushed back from the table.” One of those is the aggressive motion, one is the regressive, but it tells you a great deal about the character’s reaction without having to use a Tom-Swifty dialogue tag to denote tone.
That’s very interesting. I hadn’t thought of it in that way, but yeah, I can…in a way, our characters are puppets, and we are making them come alive, something that is actually not alive. We are trying to communicate that to the reader.
Yeah. With theater, with writing, regardless of which form you’re using, I think that a lot of what we’re trying to do is to create an emotional response in our audience’s brain, whether they are reading or viewing. But the things that we have emotional responses to, those actually remain fairly consistent from medium to medium. It’s just the mechanical technique that you use to convey it. And that’s one of the things that I’m trained in as a puppeteer, that there are principles that make a puppet look alive, but the mechanics differ when you move from one style to another. Like, the mechanical movement that I will do with my arm for a regressive motion if I’m doing something that’s very much like a Muppet is completely different than the mechanical motion that I’m doing, also with my arms, but holding a marionette control. It’s mechanically very different. But the thing that I’m trying to create for the audience, that illusion, is still the same illusion. It’s still that regressive motion, or it’s still the sense of muscle, where I’m using a compress/expand to mimic the moment when you bend your knees to jump. All of those things are still there. It’s still trying to create that same effect for the audience. And I feel that way when I move to writing, it’s like I’m still trying to create that effect, it’s just I have a different mechanical tool now.
And when did you then move back into writing after your twenty-five years of puppetry? What brought that about?
Well, I moved back probably about fifteen years into the puppetry career because I had a severe puppet injury. And again, people don’t think about puppetry as being particularly dangerous, but I was doing Little Shop of Horrors and working an eighty-pound puppet, and we had something go a tiny bit wrong onstage. We’d done it three months without any injuries, and just a little bit wrong and the puppet sheared to the side. Someone hit it on stage at a time that I had it up off the ground. No one should have touched it. And I tried to control it, and something in my wrist went pfft! I essentially popped the ligament. It was…for various reasons, it was complicated and I wound up in a cast for a year, and then did another year of physical therapy after that to regain range of motion.
During that time, kind of simultaneously with that, my brother had moved to China with his kids, working for the State Department, and I wanted to stay connected to the kids, but they are not really going to…it was before Skype was really a thing, so I started writing a serial for them, and remembered that I really enjoyed writing. In hindsight, I understand that what happened was…the reason I had stopped for a long time was because I was getting my creative jollies from the puppetry and that it uses, puppet design and construction uses, exactly the same parts of my brain as writing. It’s all worldbuilding, character creation, problem-solving. So when I could no longer do that, I had to take a substantial break from it, it gave me the energy to apply that in another form, one that I hadn’t visited for a while.
I often say that…it’s not quite the same thing, but it’s similar. I was a huge Dungeons and Dragons player in university and one reason I quit playing was because I looked at the stack of maps and, you know, characters and monsters and stuff that I had built up for my world in Dungeons and Dragons and said, “You know, that’s exactly the energy I should be putting into writing my fiction.” And I hardly ever played again after that.
It was the same thing. You’re using the same muscles, but it’s, if you use them all in one way, it’s harder sometimes to use it the other way.
Yeah, I used to play D&D with a group when I was in high school as well. Although, you know, in high school I would do anything to avoid doing homework. So, I would just write and play D&D. But now I will only do a one-off for exactly those reasons, because the, you know, the narrative is so seductive and interesting and fun. And I as I get older I have less and less energy.
And I think I’m ten years older than you, so I definitely identify. So, when did you break in? And how?
So, my first sale was 2005—I think that’s correct—to a small press magazine called The First Line. And I love this small press. They…the theory is that the first line of anything is so important. But if you hand the same first line to Mark Twain, you know, if you hand him, “Call me Ishmael,” he will not write Moby Dick. He will write something totally different. So, the first line gives you a first line, and then every story in that issue begins with the same first line, and they’re all wildly different. So, my first couple of sales were to them, and then I started selling to other markets, as well.
And you started with short fiction.
And did quite well at short fiction, looking at the awards and so forth. What did that…were you surprised by the level of acceptance and appreciation that your fiction begin to garner?
Oh, yeah, absolutely. And I should say that what I actually started writing were novels, but I had been told that if you wanted to break in, you needed to write short fiction, which it turns out is not true. Jim C. Hines did a survey, and it turns out that debut authors, when you ask them, “How did you break in?”, whether with short fiction first or just straight to novel sales, that it was actually 50/50. But I like short fiction quite a bit. And I think that it was very good for me because it allowed me to experiment with a lot of different things without having to commit so many words. So it’s like doing a bunch of, using the D&D metaphor again, it’s like doing a one-off campaign versus something that’s a multi-session campaign. So, doing a one-off, it was very easy to say, “Oh, this time I’m going to I’m going to focus on character and try to hone my character skills,” or, “This time I’m going to focus on description.” But I was also…I was surprised at how quickly I was able to start making sales, but also in hindsight, it’s not surprising, because by that point I had spent fifteen years coming to understand narrative and audience. And so much of what I know from theater translates over. Some of it doesn’t, but so much of it does. So. in hindsight, I had a leg up when I came back to prose.
So when did the novels start coming along, then?
So, as I said, I had started with novels. So the thing, the serial, that I wrote for my niece and nephew was…it turned into a novel very quickly, which was actually the thing that made me go, “Huh.” Because I had started doing it just kind of for kicks. And then I got a little bit into it and thought, “I think I have something here. How do you write a novel?” and started trying to sort that out. And in the process of that, at some point, not long after I started doing this, I discovered NaNoWriMo and decided that this was a great thing, and I was very excited about it. And I did my first one and it was a murder mystery—and let me tell you that doing a murder mystery without outlining is questionable as a choice. And then the second one that I did was Shades of Milk and Honey, which was my first novel, first published novel. So…there was another novel I call Novel Zero. That was the novel that I wrote in high school through college and then finished on my second or third year on tour. But Shades of Milk and Honey was the, I guess the third…the second novel that I completed after I got serious about it.
But yeah, I did NaNoWriMo. And we, you know, I shopped that…I had shopped the thing that I wrote for my niece and nephew, but it has first-novel problems that I am not invested enough in the book now to go back and fix.
Did your niece and nephew enjoy it?
Well, that’s the main thing.
Well, of course, your novel that just won the Hugo Award and the Nebula and Locus, Calculating Stars, we’ll move on to talk about that as an example of your overall creative process. And you know… I know it’s a cliché, and I know writers hate to be asked it…the question is, “Where did the idea come from?” But, on a bigger scale, how do you generally generate ideas for stories? How does that work for you?
Sure. So, the funny thing is, actually, the...Calculating Stars began with a…
You know what? I skipped over one very important thing. You should give a quick description of Calculating Stars for people who haven’t read it…
…before we start talking about it.
OK. Calculating Stars is set in 1952. It’s Apollo-era science fiction, it’s women-centered. I slam an asteroid into Washington, D.C., and kick off the space program fast and early and with international cooperation. My main character, Elma York, is a mathematician and a pilot and she is working with her husband, who was the lead engineer, rocket designer, for the NACA—which was a real organization, it was NASA’s precursor—and becomes the lead engineer for the International Aerospace Coalition. And she realizes that the asteroid has caused a runaway greenhouse effect. So, we’re actually looking at an extinction event, which gives impetus to get people off the planet. As a side note, I will just let people know, the science…you know how you see those disaster films and there’s an asteroid coming at the Earth and they divert it into the ocean.
It would be a bad idea.
It turns out that’s a really bad idea, because when you have an asteroid come through, it tears a hole in the atmosphere. And then you get something called ejecta, which ejects part of the planet up into the upper atmosphere. And then, if it’s rocks, it’ll fall back down. If it’s water, what happens is the water vapor gets locked in the upper atmosphere. It doesn’t precipitate out, and you can trigger a runaway greenhouse effect. There is some speculation that this might be what happened to Venus. So, anyway…
I was just going to say, my feeling when that initially comes up and she does the math and realizes that’s what going to happen is, it felt very much like a Titanic: The Musical, which I’ve been in, and Titanic, the actual thing, which is that the engineer went down, took one look at what had happened and said, “This ship is going down,” even though there were still, you know, two or three hours of floating around and people not believing it.
It was inevitable at that point. And I had that same feeling when I got to that point in the book.
Yeah, that was a…like, when I started looking at it, and I will also say that I’m very cautious in this book to not tell you exactly how big the asteroid is, because the science on that is super complicated. And I decided that rather than being wrong about it, I was like, “Well, I know that this is how it works, and it is big enough to trigger these conditions. But I don’t know how big that is because I don’t have access to a university supercomputer modeling system to come up with something that’s exactly right.” And even there, it would still be…there’s still opportunity for error.
So, anyway, so that’s what the book is about. It’s basically getting into space in the 1950s. And it’s the push towards the moon. The idea came because I had written a novelette called “The Lady Astronaut of Mars,” which I wrote for an anthology called Rip-Off! It was an audio anthology. And the premise of Rip-Off! was actually very much like the First Line magazine, which was that the first line is so important. But instead of us all having the same first line, we each got to pick a first line, a famous classic first line, and then write a different story. And I picked the opening line of The Wizard of Oz, and wrote something that was…I wanted a Bradberry homage, something that reminded me of The Martian Chronicles, and that created the story of Elma York and her husband, Nathaniel, who were both in “Lady Astronaut of Mars,” older, Elma is in her 60s, Nathaniel is older than she is, he’s in his 70s, and the decisions that they have to make. And the backstory for this piece of fiction was this asteroid strike.
And the more I started thinking about it, the more I was like, “You know, it would be really interesting to know what she was doing when that happened.” And I had written a couple of other short pieces in this universe before I really decided to unpack it into a novel. It’s…I jokingly call it my punch-card-punk universe because they’re much…the computing is a little bit behind where the real timeline went.
I love the fact that the computers are having to check the work of the IBM machine.
Oh, yeah. Well, I mean, that was true.
Yeah, I read that.
Yeah. Yeah, that was really…they were not completely reliable. And we lost…oh was it the, one of the Voyagers? the name’s just gone out of my head…but we lost an early rocket because they had…the computers, who were women, had written the code, had written, you know, this is the plan, and then they had given it to the Air Force and they had keyed it into the punch-cards to load it onto the, you know, onto the rocket, and had transposed something. And so the rocket wound up crashing. So, it’s a really interesting era in computing, in rocketry. And I just got more and more…like, I’ve always been interested in space, but the longer I work in this universe and become versed in the early space program and the contemporary space program, the more interested I am in what we’re doing and how it affects people.
It’s…I find it very interesting because, of course, they’re doing all this, they’re heading to the moon and everything, but it’s ten years earlier than it actually happened, and the technology is that much more primitive, and yet it could have been done then. And it’s very much in that golden age of science fiction era, you know, with Heinlein and rockets being built by teenagers in the backyard, practically.
Yes! Well, and when you start, like, when you really start looking at the early history of spacecraft, of spaceflight…I recommend Breaking the Chains of Gravity by Amy Shira Teitel,, which is a history of pre-NASA spaceflight, the history of spaceflight up until NASA exists, basically. And the early days were actually teenagers and rockets in Germany, there was this whole Rocketry Club. That’s where Wernher von Braun came from, the V-2 is a descendant of that. And it was, you know, it was kids who were like, “I’d love to go to the moon. Can I build this thing?”
Now, you’ve talked about a couple of stories which started with first lines that came from elsewhere. When you’re not starting with the first line…
Where do story ideas tend to come to you from?
It’s random. The thing people always say is the idea is not the hard part. The challenge is turning it into a story. So, I will approach it in a couple of different ways, depending on the situation. Sometimes I will sit down, I’ll just free-write something, and then I will sort of do a diagnostic look at it to see where I’m going and what I need to do to continue this in a satisfying way. Other times, you know, if I’m writing for an anthology or I have an idea that I’m having trouble getting traction on, then I will do something that’s much more mechanical, where I will start breaking this story apart in different permutations to see where the idea could come from.
There’s an organizational theory called the MICE quotient, which holds that every story is basically made up of four components: milieu, which is setting, characters, inquiries, questions that you have, and events. Sorry, milieu, inquiry, character, event. And you can tell pretty much every story, you can reshape and refocus it, depending on which of those you want to be the driver. Most stories have more than one element in them. And so, what I will sometimes do if I’m having trouble kind of getting traction on a story is that I’ll start with what I call the gee-whiz idea, which is, you know, any story prompt you want to throw at me, and then, if I don’t have an immediate hit on it, then I start interrogating it to see, you know, what are the things that could go wrong with the environment, what are the things that, you know, how could I trap someone someplace around this idea? Because a milieu story is about trying to exit, a journey story.
What questions might they have or not be able to answer? Is my character angsting about something or is there something angsty that could be around this, which gives you a character story? Or is there something about this that disrupts the status quo, which is an event? And so, I’ll dig into those. And what I’m looking for is very Marie Kondo. I’m looking for that, you know, that moment like, “Oooh!”, whatever sparks joy. And then that’s the thing that I’ll chase.
And if nothing sparks joy, then there’s not a story there.
Yeah. I mean, there is a story there, but sometimes you have to scratch at it a little bit harder. There’s…you can…I mean, I really think you can tell a story about anything. And you can make it compelling. Like, the first novel, the first thing that I won a Hugo for, is a story called “For Want of a Nail.” And that story, the gee-whiz idea, literally, I mean, seriously, this is what’s…you know, when I came up with this, because this was one that I had to write at a workshop on a deadliney kind of thing, I was, I just, I did the whole mechanical thing to jumpstart me into it. But the gee-whiz idea was trouble plugging in a cable. Proprietary cable. That was, that was it, it was like when you don’t have the right cable…
A situation we’ve all been in.
Yeah. That was the gee-whiz idea. And what I wound up writing, which completely is about not being able to find the right proprietary cable, is a story about a family on a generation ship, and the AI, which they use to record their history from generation to generation, gets dropped. There’s a cable in a housing that’s damaged, so it can no longer store in long-term memory, it can only keep things for a couple of hours and then it’s going to have to start ditching memories, and there’s trouble finding this cable. And the process of finding it and getting it uncovers that the AI has been masking for a couple of different people who have Alzheimer’s, and it’s been covering for them because it can whisper in their ear. And so it’s…the story unpacks into something else. But the story seed is “can’t find the right proprietary cable.” Which is not a particularly compelling story seed. That’s where I’m like, “Ideas are everywhere. It’s just…you just have to scratch up for a little while, sometimes.
It’s something I say when I do school presentations about writing. You know, I can look around a school room and have twenty different story ideas just from what they’ve got stuck on the walls…
…or on their desks or whatever So now, going back to Calculating Stars, once you have your story idea, what does your planning process look like for a novel. Are you a detailed outliner, or how does that work for you? And there must’ve been a lot of research involved in this one too, I would think.
It varies. So this one, I had a pretty good…I had a pretty solid outline for this one. And my general approach is that I’ll come up with kind of a what I call a thumbnail sketch, which is left over from my art days, which gives me sort of the basic compositional structure. And then I unpack that into a synopsis, which is like, you know, doing a rough sketch on the page. And then from there, I’ll unpack the synopsis into an outline, which is kind of my armature. And at each of those stages, things get adjusted and moved around as I come to understand the story a little bit more and what I want to get out of it. And I see opportunities, usually opportunities to make things worse for my characters.
And then…at each phase, I’m also doing research, and it gets more specific the deeper into the process I get. So, with this one, I did fairly broad research on the early space program. I also, when I’m doing something that’s historical, always assume that there were women and people of color there in real life and that they’ve been written out of the narrative. So, one of the things that I actively do is go looking for them. And usually, those stories are significantly more interesting than the ones we’ve always heard, partly because we haven’t heard them. They’re newer stories. Like, when I was working on this was before Hidden Figures came out, so the involvement of women of color in the space industry was something that I became aware of and it was really cool and not something that I had heard of. And some the women…like, you know, Katherine Johnson, who basically wrote…that is how we knew how to get to the moon, because of the programs that she wrote, the math she did, the equations, excuse me. So I look for those and that helps me kind of shape the story.
And then I get more specific in the research. So, like, with these novels, my main character is a pilot. So she needs…so I need to know how rockets are flown. But she’s not an engineer, so I don’t need to know how they’re built. Or rather, I need to know just enough so that when something goes wrong, I can handle it. And this is why I kind of wait until I get an outline, because what I generally find is the stuff that I need to know is related to the things that my character directly interacts with. So, as I get more specific, I get a better idea about which things my character is going to need to interact with, which allows me to then hone my research.
For these particular books, there is so much math and science in there that I don’t have, and the level of understanding that I need to have in order to put sometimes a detail that is like three words long, but if it’s the wrong three words, it’s very apparent to anyone in the industry. Sometimes, it’s a ton of research to do that. So, I hired a science consultant and then I also found a number of people who were willing to…you know, subject-matter experts who are just willing to participate and help me. So I had, you know, I had literal rocket scientists for my science consultants. And then I had a couple of astronauts who were willing to read along and helped me with things. So, when I got, you know, when I would be writing, I would hit a thing, it was a really specific crunchy detail in a scene, but also kind of a grace note, right? It’s not something in spreading the plot, but it’s letting you know that my character is competent. It’s setting the stage. It’s that kind of thing. And so I would play what I call Astronaut Mad Libs. I would write it, and it would be something like, “As she jobbed the job,” or “’Jargon,’” the captain said, as he jargonned the jargon,” and then send it over to the astronauts, and I would say, “Could you just fill in the blanks? Could you just play Mad Libs?” So, technically, parts of these books are written by astronauts.
I was thinking as I was reading it that it’s a lot scarier and harder work actually to write an alternate history, especially that recent an alternate history, than writing a far-future handwavium sort of science, because there are so many opportunities for you to mess up something that people actually know.
Yeah. Yeah. It’s really fascinating. There are a couple of times where I am tempted to just, like, throw some random acronyms on the page, and, you know, just keep going. “That’s a thing.” But what I run into with my own brain is that I know how many people learn their science from fiction and if I have the opportunity to put the right science down on the page, then I will. If…and most of the time, the constraints of getting the science right cause me to have a better story. If I can’t get the science right, then I go vague, or don’t build a plot point around it. Which is why with, as I mentioned before, the asteroid, I know that a water strike, and particularly a shallow water strike, can cause the runaway greenhouse effect. But I didn’t…it was not important to the book to have the size of the asteroid be defined. It’s not a plot point.
We knew what it did. That’s all that matters, really.
That’s right. So again, it’s what she interacts with. So, I did just enough. There I hand-waved the math…let me rephrase it. The math, she’s…there’s a point where she’s trying to figure out how big it is, and she’s…so what she does is, she needs to figure out what it would take to heat up the Chesapeake Bay to the point that it got heated up. So I have them do the math for that, for heating up the Chesapeake Bay. And I had Steven Granade, my science consultant, I’m like, “What is…I found this formula for figuring out what it would take to heat something up a body of water like this, but I don’t do this math. Please help me.” And he did that and walked me through the steps that he had to go through to do the math. And then I took that and used sections of it as my character was kind of working through the problem. So I would have them hum a little bit and just talk out loud, so you just get these pieces of the equation, which…
Yeah, I remember that.
Yeah. So it really makes it look like I know what I’m doing.
It’s all an illusion.
I basically am treating math like a magic system. I established that my character can do magic using numbers. And then later when I say things like, “Elma did the equations,” you believe that she can do those equations.
Without having to specify what those equations were.
That’s correct. Because I was just like, oh, this is…this is a lot.
So, what did your actual writing process look like? I notice you say in your bio that you have a lot of manual typewriters. Do you write on a manual typewriter, or is that just something you’d like to collect?
We like to collect them. I will sometimes do short fiction on manual typewriters. But we just collect them. I predominantly write on my computer, either in Scrivener or…these days, my favorite thing is 4 the Words, 4thewords.com, which is a roleplaying game that…in which the metric for defeating monsters and going on quests is the number of words you write and the time in which you write them.
It’s really good.
I should check that out, for sure.
It’s embarrassingly effective. I will write to earn a pair of wings with a dedication that I will not write for a paycheck. So it’s embarrassing how well it works, but it does.
That might be something I could use to motivate me, I admit.
There are quests. You have an avatar. There are little tiny pets that you can get. Yeah, it’s really good.
Hm. Do you work mostly, then, in a home office, or do you like to go out to other places, get away from the house, or what’s your…
All of the above. Since so much of my writing was done, early writing was done, in transit, I’m very comfortable writing kind of wherever I am. Sometimes I will go to a coffee shop because I just need to get out of the house because I’ve been there for so long. Sometimes I write at home in a chair, sometimes I write at a desk. I’m staying with friends right now and I’ve been writing…they have a solarium, so I’ve been sitting out there on a couch and their cat comes and sits with me. So it varies. The only things that are really super consistent are that if there is a conversation, a single conversation near me in which I can distinguish dialogue, I have difficulty concentrating, and I can’t write to music with lyrics. Or, actually, not just lyrics, I cannot write with the human voice. So even if it’s in another language, it will…there’s a part of my brain that’s trying to figure out what they’re saying.
It’s interesting, because I’m exactly the same way. In a coffee shop, I can write if it’s white noise, but otherwise…I have to put on headphones if somebody starts talking close enough to me to follow their conversation. Yeah. And I can’t listen to lyrics, either. I listen to classical or instrumental jazz. And it’s just background noise is just to block out the other noise.
Yeah. The thing that I figured out…so, I just finished writing Relentless Moon, which is Book Three in the Lady Astronaut series, or universe, and while I was in the process of writing it, I had had a flight in which I saw Captain Marvel and the soundtrack for that is so good and empowering and completely stuck in my head, but it’s full of all of these lyrics. So I assembled a Spotify list, which are instrumental versions. It’s an instrumental Captain Marvel playlist and it’s great. And I am now like, “Ah.” This is…because it’s all this really driving music and this is something that I will consider for future projects as well.
Something I didn’t ask you, but this is a good place to ask you because we’re getting to the point now…you’ve got a manuscript. What do you do next in the revision process? Do you have beta…well, you talked about some of the people who read it along the way, like astronauts and so forth.
But, do you have more traditional beta readers? And when you were starting out, were there writing groups and support groups like that that helped you along the way?
Yeah, I started with a writing group very, very early. And I…we recently moved to Nashville and I don’t have one in Nashville, and I miss having a writing group. But what I do with my beta readers is…this is very much influenced by the fact that I come from theater, in that I perform better for an audience. So, the only times I have gotten the stereotypical writer anxiety was the one novel where I decided not to use beta readers until I’d write the thing and then start showing it to people. And I got, I don’t know, ten chapters in and was having “this is a terrible book” reactions. And the thing that I do is, I use…so I’ll write, as I said, in Scrivener, and then I use Google Drive, Google Docs, and I’ll upload a chapter. And I have a list of beta readers who will read it. And I ask them to tell me just four basic things: awesome (so I don’t accidentally fix things); when they get bored, when their attention flags; when they’re confused; and when they don’t believe things. Then, I also tell them, like, stream-of-consciousness thoughts are great, and I enjoy those, but not to give me any kind of line notes at all, because all I’m interested in is whether or not the scene plays.
So, I think of it as inviting someone to a rehearsal. It’s like, it’s not even to a dress rehearsal stage, maybe, but I’ve just, you know, I’ve got the show up on its feet, I want to see if this plays. And then I’ll…just based on what they’re confused about, and that helps me kind of…so, I’m kind of doing a rolling revision as I go. I stay two chapters ahead of them. So, like, if I post Chapter One, that means I have finished writing Chapter Three. Then when I finish…and I should say that I usually talk through the outline with someone, like my writers’ group or with my agent or editor, so I’m pretty structurally solid by the time I start actually writing. And then this kind of rolling revision process means that I wind up with a fairly clean draft, though there’s usually things where I’ll have a retcon…and I just tell the readers, if I have a major retcon that I need to go back and do, I’ll just tell them like, you know, “In a previous scene, the evacuation is going to take place using a repelling line instead of the inflatable slide,” and then I just keep writing as if I’ve already made that change.
Then, when you have got that final draft, you do another revision just on your own?
And what do you look for in that pass?
I look for the same things that I ask my readers to look for. So, a lot of times I think a thing that writers will forget is that they have been thoroughly trained as readers for their entire life and that we can still have an emotional response to something, even if we know exactly what’s going to happen. There’s a piece of media that you’ve seen that you love, that, you know, you can probably recite lines from and you’ve seen multiple times. You know, like The Princess Bride. “Anybody got a peanut?” So, the fact that you know where something is going doesn’t stop you from having these emotional responses and this cathartic satisfaction.
So, with my fiction, if I am not having reader responses, like if I find myself getting bored with something, it’s probably boring. It probably means that it’s not going to stand up to a reread. And, you know, as a writer, if people want to reread my stuff, that’s real good. So, I try to do a read through in which I am thinking about my own emotional responses to things. Usually when I finish it there’s some big-picture stuff that I know I need to do and I’ll do that. But then, like, when I have something, that’s pretty clean, I’ll do a reread and look for the problems. Look for the things where I get a little bored. You know, like, “Look, you just started skimming there. Maybe you should do something with that.” The number of times that I’m reading something that I’ve written, I’m like, “What does that even mean?” So, I’ll fix everything that I can identify. And these days, unless I have done a really major structural change, after that, I will send it off to my agent or editor. Before I was agented and had books that were for sale, or books that had been sold, I would run it through a different set of beta readers and see how it played for them, to see whether or not I had accidentally introduced a problem. If I’ve done a really big structural change, I will often run it through beta readers before turning it in, through another set of iterators, but not always. It depends.
And what does your agent and/or editor, what sorts of things do they most often flag for you to take another look at? If anything?
It depends on the book. A lot of times it’s a pacing issue. Sometimes they’ll flag that there’s a character opportunity that I missed, motivation is not clear, and those are the things where it’s most likely to have been in my head and to not hit the page. So, it’s usually something to do with the characters, in either the main character’s or a secondary character’s internal life. And those are usually pretty easy adjustments to make. But that’s for me the things that I’m usually getting flagged with. Sometimes it’s something else that’s more…fundamental, a large change. But since I have them involved from the outline phase, it’s usually pretty sound by the time we get in there.
Have you had the same editor for multiple books or have you worked with different editors?
So, the first…until Relentless Moon, it has all been Liz Gorinsky for the novels, and now Relentless Moon is Beth Meacham. I’m still with Tor, but Liz left and now has her own company, Erewhon, and is doing quite well. But it was an interesting process. switching editors. I’ve been edited, of course, by a lot of different short-fiction editors, but figuring out what the rhythms were and our communication style and things like that, it’s an interesting shift. And they flag different things. Each good, but it’s an interesting, interesting change.
My main publisher is DAW, I’m on my tenth novel with him and of course, that’s Sheila Gilbert, so I’m very, very familiar with Sheila’s style of editing. So, whenever I work with anybody else, it’s like, “Well, that’s different.”
Yeah. Right. Yeah.
’Cause it is kind of a…it’s not exactly a marriage, but it’s some sort of long-term relationship, anyway.
Yeah. Yeah, it really is. I mean it’s…in a lot of ways you’re business partners, because you’re building a product together. It sounds really crass, but it is a thing that is happening. Or, you know, theater, it’s…you’re putting on a show together now.
Now, you are…I would suspect…pleased with your response that the book has gotten.
Yeah. Yeah. No, that’s been very nice. I mean, the…I’ll tell you that the awards are…I mean, it’s been amazing. And I…like, the whole hitting all three was…staggering, I would say. But the thing that has been really…I’m not sure…this is a…it’s a tricky thing to talk about because it was an unexpected thing…the discussions of anxiety and mental illness in the book. There are a lot of people for whom that hits very hard and that deal with anxiety and feel like they have never seen themselves on the page before. And so, the emails, the fan mail that I get with these books, is of a different sort than I’ve gotten with the other things I’ve written. And it is really humbling. Like, I am…again, you know, again, it’s a theater thing, and it’s a fiction thing, too, but there’s a thing that I create. And then there’s the thing that the audience sees. And a puppet…you know, a puppet is an inanimate object, right? My job is to pick it up and move it. But the thing we say in puppet theater is that the difference between playing with dolls and putting on a puppet show is the audience. Because the audience has to invest part of their belief in the character in order for it to come alive. It doesn’t matter how skilled I am at manipulating it. If there’s not someone there to watch it and invest part of themselves, it’s still just a figure. And so, the puppet exists in this liminal space between the performer and the audience. And I feel like books are very much the same way. Like, I wrote a book that satisfied me and that I intended to have an emotional impact on my readers. But I did not set out to write a book that was going to speak directly to people with anxiety. Like, that was…the goal was to tell a story about getting to the moon. That was the goal. And I wrote a character that I loved and I connected with, but this thing that has happened, that exists in this liminal space between my book and the reader, is something that the reader is responsible for. Like, each reader who picks it up is bringing part of themselves to it. And so, it’s this humbling thing where I am involved in this act of discovery for these readers. And what I’m doing is that I am…I’ve given them a tool, but the discovery is generated by them.
Yeah, I often like to say that writing is, we think of it as a solo thing that we do on our own, but it is in fact a completely collaborative art form, because, it does not exist until it exists in the head of somebody who reads it. And every reader is going to craft, really, a different story out of the story that you created. It’s actually a different story for every individual that reads it in some way or other.
Yeah, yeah. I mean, certainly, I also get the people who have clearly never realized that there are people in their lives who have anxiety. “Why is Elma so whiny? She can fly a plane, but she can’t talk in front of a group of people. I don’t believe that.” I’m like, “Oh, yeah, yeah. Anyone who has anxiety, they’re the best people to have with you in a crisis, because they’re like, what, stress hormones? That’s Tuesday.”
And I would think that you’ve had some good response…I haven’t…okay, I mentioned to you before we started the show that my wife is an engineer and has long been involved in the efforts to get more women involved in engineering. And there’s an effort in Canada right now called 30 by 30, which is to try to increase the percentage of women in the profession to thirty percent by 2030. And her mother was a doctor who graduated from medical school in 1947 when there were not a lot of other women in her class with her at the University of Toronto. So I would think that there would be a segment of the population whom that part really speaks to as well.
Yeah, yeah, that’s really true. A lot of people in STEM, women in particular, contact me to tell me that it’s like, “Oh, yeah, my story was Elma’s.” But what’s horrifying, is, it’s really easy to read the book and go, “But that was the 1950s.” And the number of women who have had that experience in the 21st century, of being the only woman in their math class…the fact that there’s a campaign to get thirty percent women, that’s still not a lot.
And I will say, I think at the University of Toronto, where my daughter, she’s not in engineering, but she just started this year, and I was there for their…when the engineers were having their big thing that they do the first day, there are all these people in yellow shirts and hard hats running around. And I was watching them go by. And it was, it looked pretty much 50/50. And I think they’re pretty darn close at the University of Toronto and the engineering program right now. So…
So, I’m going to challenge you on that, when you say that it looks 50/50, to find out. Because there is a thing that happens, and this is real, this is like well-documented, that when there are thirty percent women in a room, or on a bookshelf, that it is perceived as being predominantly women, even though it’s not.
Well, in this case, I asked my wife and she believes that it is close…closer than 30 percent in the high 40s maybe. So, you know, pretty close. OK. I confess I haven’t looked at up myself, but I think the University of Toronto at least is certainly working hard…
…to make that happen. So I also wanted to touch, before I get to my big philosophical question here—we’re just about out of time, but I want to get those in…but I did just want to ask you about the audiobook narration. That’s another form of theater.
And I’ve…I do some of that myself. I’m currently narrating my own books, but I’ve done a couple of other people’s, too. How did that come about?
I like to say it’s like puppetry, but without the pain. You know, I have this long career doing character voices and talking to myself because usually there’s two performers and you have to do the entire cast, so often you are in dialogue with yourself. So, I had that skill set and my minor in college was theater and speech, specifically doing radio performance. So, honestly, I like, I auditioned and audiobooks are just like trying to do any other form of, you know, any form of writing, where there’s submission guidelines and you go and you read the submission guidelines and then you follow those instructions and you turn in a tape. And then sometimes they’ll have you do what is essentially a callback, where they’ll say, “Yeah, we’re thinking about you for this audiobook. Here’s a page. Please read that page to us.” And then you see what happens. I got lucky. I did a couple of different things, but then started doing the Seanan Maguire series. I was just in the booth this morning to record the fixes on book thirteen in the series. So it’s nice to have a little bit of job security there. She keeps writing these.
But I have to ask, because, having done it…it’s an enormously time-consuming thing, recording books. Does that…how do you balance out writing your own stuff and recording the other stuff. You just have time for it? Because I find it’s a huge…you know, it just takes so much time.
Well, I don’t do self-producing. So I have an engineer, which means that I only have to do the recording part.
And true, I do my own engineering.
Yeah. And that’s the part that I’m just like, no. if I had to do that, yeah, then the balancing of those two things would be, I think, well-nigh impossible. But balancing just narrating and writing is not bad. Usually it’s, you know, six to eight hours a day of the narration, depending on the book and who I’m recording for. And then I’ll get in an hour or so of writing before or after, depending again on the book and where I am. Sometimes, I’m doing it…like, editing and narration. I will often do my edits on my lunch break or something. So it’s…I don’t find it any different than balancing writing with any other day job. And I don’t do it often. Like…I mean, I’ve done seventy-some books, but I’m not recording every day.
I could be if I did, if I were willing to do, home records or self-records. But I…most of my career has been trying to turn down the gigs I don’t want to do. And it’s not something I’m interested in doing. So I don’t, even though that means I have less audiobook work. And then there’s also books that I don’t want to record. There was a series that I was recording for a company and the books were very rapey and I recorded the second one and said, “I can’t, I can’t record these. I’m so sorry. I know that you don’t want to change narrators mid-series, but I just, I don’t want to be involved with these books.” I was already using a pseudonym for them and…which, like, they don’t…I don’t do a lot of. But I’m like, I don’t need to do these books and I don’t want to. So I don’t. Which makes it significantly easier to balance.
Yeah. Well, it’s you, when you’re reading something out loud it’s…yeah, if you’re not comfortable with the narrative, it would be very difficult, I would think, to…
I mean…yeah, I can do it. Like, I can turn in a good performance. It’s compelling and all of that. But I’m just like, “But I don’t want to participate in that.”
I’m just gonna back up for a minute. I was listening, but I was also checking the enrollment at the University of Toronto, and they’re at…I did overestimate. They are apparently at about thirty-five percent women at this point.
Yep. Thank you for checking. And that was what I, sorry, that was what I guessed.
I had heard a higher number than that, but clearly that was incorrect. So, just to finish up here, with the sort of the big philosophical question, and you sort of touched on this already, with the sort of reaction and, you know, talking about the collaboration with readers. But, the first question is, “Why do you do this? Why do you tell stories?”, and then the second question is, “And what do you hope to accomplish by telling stories?” So, why do you write, and specifically, why do you write science fiction? Why do you write this crazy stuff?
So I write, and I write, I guess, science fiction, because…for the same reasons that I do puppetry. It is the theater of the possible. It allows me to take the natural world, tip it on its side, and look at the interconnective tissue, which helps me understand the real world more. The reason I write instead of just doing daydreams is so that I can share those things with other people. It’s also, I think…I mean, I am a storyteller and it’s something that gives me satisfaction. I like the give and take. I like that conversation with the reader. So, really, I guess, ultimately, I write because it’s fun. I enjoy it. As I said, I am working to turn down gigs I don’t want to do, so ultimately and selfishly, I write because I enjoy it.
But the goal with each book is to provoke an emotional response in the reader and usually to have them share the same emotional journey that I have had when I’ve been thinking about a character. But each book is different. Each short story is different. Like, the specifics of what that emotional response is vary. With the Lady Astronaut books, a lot of what I am thinking about kind of consciously are ways in which to demonstrate a different path. Because we do learn so much from fiction. We use it as a means of cathartic experimentation, trying on different selves. And…as a reader, I mean, not as a writer. We do that as writers, too, but as readers, that’s what…we’re trying on these different lives and these thought experiments. And sometimes the thing we want to try on is just escaping the stuff that’s going on around us. Sometimes it is purely just for fun, which I think is also a valuable and important thing. But it is…each book we pick up, we pick up for a reason, to have this journey of some sort. And so I am, as a writer, wanting to create the experience that I have as a reader.
Something that…I always say that the reason I write is because I want to give to other people the experience I had as a reader.
You know, and create something that people will enjoy as much as I’ve enjoyed the stuff that I’ve read.
I think that’s a common thread. And what are you working on now?
I am doing the final edits for Relentless Moon. It was actually due day before yesterday, but I’m…one of my astronauts got back to me with notes at 10:30 the night before it was due, which is…fortunately, my editor was like, “Wait, you got astronaut notes? You get some extra days.” So I am actually rewriting a scene based on those notes right now. That is literally what I was doing right before this interview and what I’m going to do immediately when we’re done. And then, once I turn that in, I get to start working on a book that is not in the Lady Astronaut universe that I’m very excited about. It’s the next book that’s gonna come out from Tor. So, Relentless Moon comes out in 2020. The book after that is called The Spare Man, and it is a locked-room murder mystery on an interplanetary cruise ship. And it’s basically The Thin Man in space. It’s, you know, retired detective and a socialite and sparkling witty banter, but on a cruise ship going from the moon to Mars.
That sounds like fun.
It’s…I have written the first three chapters of it and the outline. I’m so excited to be writing this book. I cannot tell you. It is frolicking.
And where can people find you online?
The easiest way is to go to my Web site, maryrobinettekowal.com. And you can check out the Web site, but actually, signing up for my newsletter is probably the best thing, because I’ll tell you when I’m teaching classes, when I’m going to be traveling, and I will sometimes put out calls for beta readers and invite people to read my stuff while I’m working on it.
And are you active on Twitter?
Yes. @MaryRobinette, and on Instagram @MaryRobinetteKowal. Generally speaking, if you type in my name, Mary Robinette, I will pop up.
Yes, I think you’re the only one I’ve ever heard of.
So, funny thing, I actually met another Mary Robinette. But it was her last name. And that was very funny. But it’s…and Joe Biden’s middle name is also Robinette. But there’s not a lot of us.
I did not know that about Joe Biden, so that says…you learn something new every day. I knew it was Joe R. Biden, but I know that was his middle name.
Yeah, my double take on Inauguration Day was pretty epic.
Well, thanks so much for being on The Worldshapers.