Authors of the Roundtable: Lucas Thorn, Marc Turner, Steven Poore, Richard A. Knaak

I would love to write a tie-in novel for an existing franchise such as Star Wars, Mass Effect or the like. The biggest problem for me would be timescales. My understanding is that tie-in novels generally have to be written quickly - within 3 months, say. And that would be a huge challenge. One day, though ... :rolleyes:

i keep trying to push myself for those time limits. my goal is to write extremely quickly and just churn out as much as possible. i remember talking to a writer of westerns, once, who has written over 200 books. i asked how he did that, and he said pretty much he wrote to put food on the table for his wife.

there's nothing more noble or motivating than that, really.
 
i keep trying to push myself for those time limits. my goal is to write extremely quickly and just churn out as much as possible. i remember talking to a writer of westerns, once, who has written over 200 books. i asked how he did that, and he said pretty much he wrote to put food on the table for his wife.

there's nothing more noble or motivating than that, really.
Family is always #1 priority
 
richard, and i guess for everyone, do you have anything in your books you consider to be an ongoing gimmick?

for example, i use the word "eldritch" at least once in everything i write simply as a tongue-in-cheek nod to lovecraft. it continues into everything i do. if i could put it in my work emails, i would.

maybe a character which pops up regularly in the same way moorcock loves to toy with (and recently smirked into the doctor who series - i'm on topic!). or perhaps a reference to something more obscure?
 
richard, and i guess for everyone, do you have anything in your books you consider to be an ongoing gimmick?

I do have something like that! It's something obscure that will appear once in every book of the series, but I'm reluctant to say what it is precisely, because I'd like readers to have the chance to notice it themselves.
 
i said to my editor (the excellent Joanne Hall) that i had essentially written 300k of epic fantasy just to get two lines of dialogue lifted from a Fall song into print. she still thinks i was joking... :D
 
a friend of mine, one erstwhile andrew hindle, recently wrote a scifi series with central characters consisting mostly of actual people he knew, whether by their online or real life personas.

i've toyed with putting friends into books. i did it once with a comedy series (side note: macmillan read the first few chapters and then proceeded to ask for the rest of the manuscript just so they could read the end while firmly advising there was still no way they could publish it because it was "too funny").

how many of your real family/friends get into your books? and when they do, how much of that character is them and how much extra fictional padding?
 
not so far - the epic fantasies are all pure fiction. i have been working on a project based on memories of childhood holidays, and that does necessarily refer back to them. it's difficult to write though. another project - Sheffield-based superheroes - features a chap i used to work alongside. he doesn't read though so he'll never know...
 
How are you all with swapping around formats - novels to short stories? Are you comfortable with shorter lengths of fiction? I had a sudden spate of writing short stories a few years back, but I do find short stories difficult to come up with.
 
but I do find short stories difficult to come up with.
I'm glad you mentioned this. Many budding writers who visit our writing forum express how hard it is to write short fiction.

As novelists, do any of you feel you *have* to write short fiction in a bid to get more readers to try your stuff? Or do you stick with the format you are comfortable with (presumably, the novel length)?
 
having already said that i find short stories difficult - the ideas either come in a flash or they percolate for years until something clicks and finally makes sense - it's not a format i feel naturally comfortable with. but having several of those stories appear in the Fox Pockets range of anthologies from Fox Spirit Books (excellent indie publisher, folks!) has also helped to give me a bit of a push in the genre, i think. it definitely helps to be identified with such a forward-looking small press. i'd encourage any author to submit what they can, where they can (in a professional fashion, of course) - every submission counts, whether you believe it or not.
 
As novelists, do any of you feel you *have* to write short fiction in a bid to get more readers to try your stuff? Or do you stick with the format you are comfortable with (presumably, the novel length)?

I’m happy to write in either format. I’ve written a couple of short stories for anthologies recently, and they made a pleasant change from novels. One was 7,500 words for Grimdark Magazine’s Evil is a Matter of Perspective anthology (you can support it now on Kickstarter), and one was 3,500 words for Fantasy Faction’s Guns and Dragons anthology. The shorter one was much harder to write, because there was so little space to establish character and setting – and to throw in both a character twist and a plot twist.

I think short stories can be a good way to introduce more readers to your writing. Last year, before When the Heavens Fall came out, I wrote a free short story called There’s A Devil Watching Over You. It was intended as an introduction to my story world, and to one of the POV characters from the book. If anyone is interested, you can read or listen to it here.
 
I'm glad you mentioned this. Many budding writers who visit our writing forum express how hard it is to write short fiction.

As novelists, do any of you feel you *have* to write short fiction in a bid to get more readers to try your stuff? Or do you stick with the format you are comfortable with (presumably, the novel length)?

i saw the latest short story openings and genuinely considered trying something for it!

i have never really been very good at writing short stories as anything more than character studies. i find when i write the short version i used to fall victim to trying to be "clever", which i think weakens a short story by turning it into a joke. maybe i'm just irresponsibly disappointed in twists. they remind me too much of a monty python sketch.

"ha! it was the parrot."

my inability to write them properly might also be down to not reading many of them to be honest. i read too fast, so a short story is often swallowed without a good chew. i end up investing in a character only to have them gone before i had a chance to know them.

at heart, i'm a heathen and deserve to be illiterate...
 
every submission counts, whether you believe it or not.
I think this is true. Though I don't read very many short stories, I do remember the authors of short stories more than I do of novels. It seems counter-intuitive, but there it is. So, I guess, anything that keeps a writer's name in a reader's head is a good thing. I guess.
If anyone is interested, you can read or listen to it here.
Thanks! I'll read it tonight. :)
at heart, i'm a heathen and deserve to be illiterate...
Ha!
Do SFF short stories hold some higher literary standing than SFF novels?
 
Do SFF short stories hold some higher literary standing than SFF novels?
i think you only need to look at some of the publications currently out there - Beneath Ceaseless Skies, Clarkesworld, Interzone, Holdfast, Asimov's, to name but a few at pro level - and the various anthologies being commissioned/crowdfunded (GDM, as Marc noted above, Fantasy Faction, SFF World's own Ecotones, Fight Like A Girl from Kristell Ink), and the awards that can be applied to short story markets to see that there's both a literary and commercial justification for that part of the market. There's a swing towards digital markets of course (David Tallerman is a good touchstone here, with his individual stories and a collected set of stories published by Digital Science Fiction). And it ties in to the demand for standalone/serial fiction that Lucas referred to earlier.
 
You've all talked about your series a bit, but what would you consider to be the big central idea that created or jump-started your series? (Mr. Knaak, we'll let you go with Black City Saint on that one.) And, since that sometimes happens, did you know what it was when you started writing or did you find it in the middle?
 
maybe i'm just irresponsibly disappointed in twists. they remind me too much of a monty python sketch.

Yes, some twists you can see coming from the first sentence of the story. Others, you can almost hear the author saying “Ta da!” in your ear as you read them. Maybe the way to truly surprise readers these days is not to have a twist at all. They won’t see that coming.
 
And it ties in to the demand for standalone/serial fiction that Lucas referred to earlier.

I know a few fantasy authors who publish short stories alongside their novels to good effect, for example Steven Erikson and Brian McClellan. For writers with huge, intricate worlds, short stories can be a great way of covering events that aren't featured in the books themselves, or exploring the backgrounds of minor/secondary characters. I loved Erikson's Tales of Bauchelain and Korbal Broach.
 
You've all talked about your series a bit, but what would you consider to be the big central idea that created or jump-started your series? (Mr. Knaak, we'll let you go with Black City Saint on that one.) And, since that sometimes happens, did you know what it was when you started writing or did you find it in the middle?

i began with an idea of writing an classic fantasy-style story from the other side. from the villain's point of view. i have oddball social beliefs in which i don't believe in good and evil. i believe everyone's a bit of everything and if you were on the evil side, you'd think you were on the good side. god is, after all, on the side of the victor and not the righteous.

when i tell people that, they say i'm thinking about brandon sanderson's mistborn series, but i wasn't. i only read that (finally) last year. i was originally thinking of raistlin and kit from the dragonlance series. how they're essentially villains but you never think of them as such because they're just normal people. an anti-hero, perhaps.

i was also moved by the character of zatoichi, a japanese blind swordsman. he's a member of the criminal underclass. essentially, a villain (something which doesn't often come across to most people watching). but his actions end up heroic (though ironically they adhere to his strict criminal code).

i'd say the biggest central idea was the story in my head of a necromancer who runs away with a princess. but the princess' people think she's been kidnapped and send armies to rescue her. and then a small group of valiant "heroes" to sneak behind enemy lines. the only problem is the princess left out of love and is slightly homicidal, so there's no way she wants to go back...

i liked this kind of story because it toys with the expectations of fantasy while simultaneously staying true to it in a warped and wonderful way.

sometimes, when i answer these questions, i wonder if i'm not just trolling the fantasy genre...
 
I know a few fantasy authors who publish short stories alongside their novels to good effect, for example Steven Erikson and Brian McClellan. For writers with huge, intricate worlds, short stories can be a great way of covering events that aren't featured in the books themselves, or exploring the backgrounds of minor/secondary characters. I loved Erikson's Tales of Bauchelain and Korbal Broach.

bauchelain and korbal broach is a book of short stories i HAVE actually read and deeply enjoyed!
 
i'd say the biggest central idea was the story in my head of a necromancer who runs away with a princess. but the princess' people think she's been kidnapped and send armies to rescue her.

I love the idea of an entire nation mobilising to save someone who doesn't need saving.
 

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