JAY Kristoff is a Perth-born, Melbourne-based author. His first trilogy, The Lotus War, was purchased by Tor in the three-way auction by US publishing houses in 2011. He is as surprised about it as you are. The first instalment, Stormdancer, is set to be published in September in the US, UK and Australia.
He can be found shuffling about aimlessly and frightening the children at www.jaykristoff.com.
What attracted you to the Japanese-style setting for Stormdancer? And then that dollop of steampunk? An interesting mix!
Steampunk came first. I thought the steampunk genre was a cool place to explore the idea of a destructive techonology –- I loved cyberpunk as a kid, loved the mood of decline combined with the theme of the machine as an ‘enemy’. And that’s a well-trodden alleyway in the realm of futuristic sci-fi, but historic sci-fi tends to look at the past through rose-tinted goggles and see the advent of the machine age as a ticket to a land of wonders. So I liked the idea of destroying that perception, bringing back that nihilistic ‘punk’ element for which steampunk is named but so often overlooks.
Thing is, the traditional stomping grounds of steampunk (Victorian England and colonial America) have been done, and done very well. I don’t like the idea of repeating someone else. There were some incredible cultures on this planet at the time when Victoria and Albert were knocking boots, and I’ve been a fan of Japanese film and fiction since forever, and it seemed like combining the two might lead me somewhere interesting. Plus, you know, chainsaw katanas…
In what ways has your penchant for role-playing games informed your writing?
I never really considered it until recently, but when I think about it, I’ve been building worlds since I was 12 years old. It starts with grid maps and random pluckings from the Monstrous Compendium (‘Heh, THIS will fuck ’em!’), but I think anyone who’s spent any time being the game master knows how cool it can be to create a living, breathing world, people it with memorable characters and watch players get lost in it. I think that is writing, in a very real sense — the same discipline you use to create an exciting game world is the same as the one you use to create the world in a novel.
A couple of the fundamental world-building ideas in Stormdancer came directly from the last Pathfinder game I ran. So apparently you can learn some important life skills sitting in dimly lit rooms with your buddies rolling polyhedral dice. Who knew.
On your blog you say you don’t believe in happy endings. Why is that?
Victory without sacrifice feels cheap to me. If I read a book or see a film in which all that was required to beat the Big Bad Guy was a little sleight of hand or some sharp-shooting, I feel cheated. I want to be afraid for the characters I love. When I’m in a book or film, I want to know not everyone I love is going to make it out alive, or intact, because to my mind, that makes me love them more. And I’m not talking about pathos for pathos’ sake. I’m talking about the death of Wash in Serenity, or Lin being rendered brain dead by the slake moth in Perdido Street Station — that kind of thing. Characters feel more real and tangible and alive to me when I know they could be gone at any moment, because that’s what real life is like. Triumph means more when it’s purchased with the things heroes hold dear.
I want my readers crying even as they’re cheering.
What Australian works have you loved recently?
I read The Music of Razors by Cameron Rogers last year, and simply put, it’s one of the best books I’ve ever read in my life. Capital A ‘amazing’. I also scammed a copy of The Book Thief by Markus Zusak from my lovely Aus publishers at Pan-MacMillan (ah, freebies) a couple of weeks back, and I’m loving it so far.
What have been some of the biggest changes in Australian speculative fiction in the past two years?
Truthfully, I’m not really part of the scene, so I can’t really speak to that one. I do think we live in very tumultuous times in publishing — the advent of e-books, the rise of Amazon and the impact that’s having on publishers and brick-and-mortar stores. Long-standing publishers are shedding entire floors in NY city. Audiences are changing, and what’s expected of you as an author is changing.
But ultimately, it’s still all about the words. Write the right words, and everything else will follow. That’s the beauty of it.
THIS interview was conducted as part of the 2012 Snapshot of Australian Speculative Fiction. We’re blogging interviews from 1-8 June and archiving them at Australian Speculative Fiction in Focus. You can read interviews at:
- Tehani Wessely
- Kathryn Linge
- Helen Merrick
- Sean Wright
- David McDonald
- Tansy Rayner Roberts
- Alisa Krasnostein
- Alex Pierce
- Ian Mond