- Have the plotlines diverged much since you began writing The Prince of Nothing, or did you have the entire plot more or less figured out from the very beginning? Were any characters added or further fleshed out beyond your original intention? Have you made any changes to your initial plans during the course of the writing of the series?

I know when I started working on The Judging Eye, I found myself inventing a whole series of new viewpoint characters. I didn’t realize what I was doing until I started reading A Feast for Crows, at which point I scrubbed them all save one. I told myself I was adding these new viewpoint characters for the reader’s sake, when in actual fact I was doing it for my own - I mean, multiply the time you’ve spent with The Prince of Nothing by a thousand, and you’ll have a rough ballpark sense of how much time I’ve spent with my cast. The urge to "freshen things up" is almost irresistible, as is the attendant assumption that you’re doing it as much for your readers as for yourself. But when you already have a complicated narrative on the go, you really do risk drifting across that fateful line where your story starts to decohere. Whether or not this was what happened with Martin’s last book, I’m not sure - all I know is that it threw what I was doing into perspective, and led me to take an entirely different tack. It took me a while, but I eventually fell back in love with the old fogies.

And I’ve never stopped being ga-ga over the world. I’m downright conceited when it comes to Earwa. My world kicks some major ass, man.

As a result I really feel as though I’ve been able to strike a better balance between the complexity of the story and the richness of the world in The Judging Eye, as compared to any of The Prince of Nothing books. It’ll be interesting to see what people think.

This summer, or so I’m told.

Well, I can’t say it’ll be a duology anymore, because in the course of writing it ended taking a parallel form: the story breaks into three natural parts. The first book, The Judging Eye, does the same kind of frame-setting work that The Darkness That Comes Before does in The Prince of Nothing - only without the super-steep learning curve! The second, The Shortest Path, will be a travelogue, much like The Warrior-Prophet, and the third... well let’s just say we’ll be a long time cleaning the fan! One difference, I think, is that the relative lengths of the books will be inverted. The Judging Eye will be the shortest, and I anticipate the final book will be far longer than The Thousandfold Thought, which picked up on the doorstep of Shimeh. This could complicate things, since I would like to include an updated Encyclopaedic Glossary. Maybe I’ll have to break down and do a separate omnibus - but that just feels like a cash grab. Cheesy.

There will be some minor differences in style - I’ve tried to gear the lyricism of my prose more to character than to plot. There will also be substantially less narrative navel gazing - I think that was one area where I erred too much on the literary side in The Prince of Nothing. I want this story to crackle!

Well, someone should tell my editor at Penguin about that!

Unfortunately, brewing doesn’t always mean beer.

It’s followed almost the same path as The Darkness That Comes Before: I’m swapping genres with this, so I should have expected I would have to prove my point all over again - let’s hope Neuropath pulls through the way The Darkness That Comes Before did! As of just a few weeks ago, I signed with Tor’s Forge Imprint for the US rights, and it looks like it will hit American shelves this upcoming September, several months behind the Canadian and UK releases.

Meanwhile, it’s in development in Hollywood, but so few books get made into movies that it’s like bragging about buying a lottery ticket.