fantasy

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Snapshot 2012: Jay Kristoff

australian speculative fiction snapshot 2012 logoJAY 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.

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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:

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Snapshot 2012: Kyla Ward

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KYLA Ward is a Sydney-based creative who works in many modes. Her latest release is The Land of Bad Dreams, a collection of dark and fantastic poetry. Her novel Prismatic (co-authored as Edwina Grey) won an Aurealis Award for Best Horror. Her short fiction has appeared in Ticonderoga Online, Shadowed Realms, Borderlands, Gothic.net and in the Macabre anthology, amongst others. The next Cursebreaker story, ‘The Jikininki and the Japanese Jurist’, will shortly appear in The New Hero anthology from Stone Skin Press, who will also print her very first Mythos tale, ‘Who Looks Back?’ in Shotguns vs Cthulhu.

Her work on RPGs including Buffy the Vampire Slayer saw her appear as a guest at the inaugural Gencon Australia. She has had feature articles in magazines ranging from Dragon to Art Monthly Australia. Her short film, ‘Bad Reception’, screened at the Third International Vampire Film Festival and she is a member of the Theatre of Blood repertory company, which has also produced her work. In addition, she programmed the horror stream for the 2010 Worldcon. A practising occultist, she likes raptors, swordplay and the Hellfire Club. To see some very strange things, see her website at www.tabula-rasa.info.


Your first solo book is a collection of poetry — did you see that coming in your projections of a writing career, given how hard it is to get poetry published, let alone (one would think) macabre poetry?
No, it was a complete surprise! I attended the secondary launch of Leigh Blackmore’s Spores From Sharnoth at the Don Banks cottage and performed a few pieces in the open mic section. Danny Lovecraft of P’rea Press heard me and the entire idea was his. The faith was his and a serious part of the work. Poetry is a hard sell these days and I can’t pretend the book has been an overwhelming financial success, even though we recently made it onto Amazon. But I hope that the good reviews in Publishers Weekly amongst others, the Rhysling nominations and making the Stoker preliminary ballot go some way towards repaying him.


You write for the theatre and for role playing games as well as poetry: in what ways do these pursuits influence your fiction practice?
Undoubtedly it does. As a matter of fact, one of the things turned up by the process of editing The Land of Bad Dreams was that, all unknowing, I write poems specifically to be spoken aloud. Danny would point out errors in the metre and such that I couldn’t see, until we realised I was counting the points where I drew breath as syllables! Some pieces such as ‘Day Cars’ we ended up leaving in this weird hybrid form. But as I have said elsewhere: when I have an idea, it’s generally specific to a form. A script idea is a script, a poetry idea is a poem, a novel idea is a psychosis. It is extremely rare that I would translate one to another.

I think this is one reason poetry continues to be written, long after the days when people would fight each other at bookstores to secure the latest instalment of Byron’s ‘Don Juan’. Some ideas can only be expressed in poetry, and any attempt to do so tends towards poetry, whether this is acknowledged or not. Thus ‘prose poems’, dramatic monologues and a significant amount of flash fiction.

What advice do you have for writers who get the chills when it comes to reading their work out loud to an audience?
No, no, no: it’s the audience who are supposed to get the chills!

Being able to read your work in public is a great resource for a writer. They are the most difficult aspect of a work for the general public to ignore, or pirate. Readings can make a launch or signing into an event. Readings can be filmed and placed on YouTube. Plus, nothing displays the artistry of a piece, the flow of sentences and the aptness of words, like performance — assuming that the performer doesn’t freeze up and treat gripping prose like it’s a list of ingredients on a cereal box. The life is all there on the page, you simply have to release it out. Practice is the key: first getting used to the sound of your own voice and then learning how to control it. In my case, I can’t pretend that lengthy drama training didn’t help.


What Australian works have you loved recently?
Ben Peek’s ‘Below’ and Stephanie Campisi’s ‘Above’ <in Above/Below>. Clever, unusual and effective.


What have been some of the biggest changes in Australian speculative fiction in the past two years since Aussiecon 4?
Those associated with a slow recovery from near-total exhaustion? Or was that just me? E-books seems to have taken off in a big way. I am also looking forward to seeing what happens with GenreCon in Sydney this November: a brave experiment by any standards.

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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:

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Snapshot 2012: Stephen Dedman

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STEPHEN Dedman was born in Adelaide in 1959, but grew up (though many would dispute this) on the outer limits of Perth’s metropolitan area, far enough from a good library that he had to make up his own SF and horror stories. He’s been writing for fun for more than 40 years, and for money for more than 30, selling his first short story in 1977 and his first novel in 1995.

That novel, The Art of Arrow Cutting, was shortlisted for a Bram Stoker Award. His short stories, published in an eclectic range of magazines and anthologies, have won two Aurealis awards and a Ditmar, and been nominated for the British Science Fiction Association Award, the Sidewise Award for Alternate History, the Seiun Award and the Spectrum Award. His latest publication is ‘More Matter, Less Art’ in Midnight Echo #6; his story ‘The Fall’ will be in Exotic Gothic 4. For an up-to-date bibliography, go to www.stephendedman.com.


Has your time as a bookseller revealed any lessons for you as a writer: craft or business wise?
I worked in SF/F bookshops, on and off, from 1985 until 2011, and while it’s occasionally alerted me to the presence of new markets (notably Aphelion and Aurealis) and books that are useful to genre writers, the main thing it’s taught me is that there’s little point in new writers trying to cash in on a trend, be it cyberpunk, epic fantasy, zombies, or sparkly vampires. By the time they’ve finished a draft and sent it anywhere, hundreds of other writers will have done the same. Instead, writers should go to the bookshops and the libraries and look for the books they want to read, and if no-one’s written it yet, write it themselves. Write the stories you would pay to read.


You write across so many genres — are there themes that are present across them that perhaps you’re exploring in different ways?
There are some themes I keep coming back to, beyond the obvious SF and horror themes of possible futures and things that scare us. Outsiders and otherness (most of my protagonists are from somewhere else). Obsession. The relationship, and often the gulf, between our fantasies and what we actually want or would let ourselves do in reality. And dinosaurs and ninja, of course.


Given your enviable back catalogue, are you excited about the possibilities of e-publishing and POD?
Cautiously excited. I’m definitely excited by the idea that no book or short story ever need disappear completely. I’m less optimistic about the prospect of making a living from it; I’m not yet convinced that the long-tail economy isn’t something like the trickle-down effect, all jam tomorrow but never jam today (kudos to Cat Valente, by the way, for telling me that that was a Latin pun).


What Australian works have you loved recently?
I’m embarrassed to say that since we sold Fantastic Planet bookshop, I haven’t been keeping up with them as much as I should. I was enormously impressed by The Courier’s New Bicycle by Kim Westwood, and Felicity Dowker‘s new collection Bread and Circuses is excellent.

What have been some of the biggest changes in Australian speculative fiction in the past two years since Aussiecon 4?
Mainly that more people are self-publishing, either as hardcopy as e-books, and it seems that the big publishers’ are cutting back on midlist, with print runs getting smaller and backlist going to PoD.

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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:

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Snapshot 2012: Nathan Burrage

australian speculative fiction snapshot 2012 logoNATHAN Burrage is a Sydney writer, father of two, and works as a project consultant by day. He is a graduate of the prestigious Clarion South workshop (class of 2005) and was the co-convenor of the 2010 Aurealis Awards, which was the first time they had been held in Sydney.

Nathan has accumulated 20 short story credits and his debut novel Fivefold was published by Random House in 2008 and is now available as an e-book. A second novel is currently jogging on the submission treadmill.

Occasional updates appear at www.nathanburrage.com.

Fivefold is finding new legs as an e-book — can you tell us a little about that process?
As part of marketing my second novel, The Hidden Keystone, my agent suggested that we request the return of the electronic rights to Fivefold, as the book had been out of print for a few years. The thinking here was that since the two books are linked (but still standalone), the second novel might be more attractive if we could also offer the electronic rights to my first novel.

After a few emails and some discussion that I wasn’t privy to, Random House decided to release the novel in electronic form and it appeared in all the online places you’d expect in late May.

Just ignore the synopsis if it talks about a crime novel. Somehow the synopsis from another book has been mixed up with mine, so the process hasn’t been entirely seamless.

So how hard is it to write about religious/historical conspiracy in the wake of the Dan Brown phenomenon?
Pretty tough to be honest. I get the feeling a lot of publishers and bookstores feel that the sales phenomenon has moved on to other genres and that any further works in this field aren’t destined to be very successful. Certainly there’s an inherent cynicism after all the ‘this-is-the-next-Da-Vinci-Code‘ marketing that has undoubtedly taken place since Dan Brown’s success.

Still, every genre has well established tropes. The trick, of course, is to bring a new perspective or angle that will breathe fresh life into those tropes. I don’t see my second novel as a religious thriller. Rather, I describe it as a story written in the margins of history and focusing on the eternal power struggle for the human soul. This might sound like the alternative history sub-genre but it’s not.

Some might argue I would do well to fit into square holes more often…

What were some of the hurdles and delights of researching your latest work on-site?
Delights first, I think. In 2008, I was fortunate enough to visit Jerusalem and France as part of research for my second novel. The old city of Jerusalem literally made my skin tingle and walking the old battlements was exhilarating. You can literally see the layers of history built on top of each other and one can’t help but feel that there is so much more to be discovered there. Heady stuff for imagination jockeys.

I also enjoyed visiting Qumran (where the Dead Sea Scrolls were discovered), taking a dip in The Dead Sea and wandering through the Champagne region of France. I can’t recommend a visit to Abbaye de Fontenay enough!

In terms of hurdles, the problem with researching a particular place or time is that it’s very tempting to stuff all that juicy information into your work. Of course this makes for a dense, slow read, so some brutal editing was required. How brutal? Think hordes of Mongols. My first draft for the second novel weighed in at 240,000 words and is now 169,000. That’s a lot of extraneous words lying about the battlefield that is writing, but it’s all part of the learning experience.

Dealing with actual historical figures – rather than those you have invented that know said historical figures – requires a fair degree of research. It wouldn’t do, for example, to have a character besieging the walls of Jerusalem with Godefroi de Bouillon when the same person is recorded as having died in Antioch. Of course, the first- and second-hand accounts from those times don’t always agree, so you can write between the margins if you’re careful.

What Australian works have you loved recently?
The Last Days of Kali Yuga by Paul Haines is a great collection and one can’t help but wonder what Paul might have gone on to do if given more time.

I’ve read the first two installments of Trent Jamieson‘s Deathworks series and found them to be fast paced with a great voice in the central character of Steven de Selby.

Josephine Pennicott‘s Poet’s Cottage could be considered to be on the outskirts of speculative fiction but I enjoyed it immensely and was impressed with the versatility Jo has shown in her writing.

I’m also looking forward to reading Liberator by Richard Harland, When We Have Wings by Claire Corbett and The Broken Ones by Stephen M Irwin.


What have been some of the biggest changes in Australian speculative fiction in the past two years since Aussiecon 4?
Interesting question. The major publishers are clearly experiencing pain in their balance sheets and this has inevitably affected publishing decisions for both new and established writers. The combination of a strong Aussie dollar, the proliferation of e-books and online content, and the loss of key traditional outlets in this country (think Borders and Angus & Robertson) have all played their part.

Meanwhile Aussie small press continue to not only thrive, but publish important literary works. Increasingly, I think, new spec fic authors will see their novels published by genre specialists rather than the big publishing houses. In addition, distribution platforms, such as Amazon and the iBookstore, will sway what gets published in the future as people vote with their digital feet.

From an Aurealis Awards perspective, entries in the horror novel category for 2011 were clearly down, although the shorter format is still flourishing. The judges have also indicated that they are seeing more and more electronic submissions, which is expected to continue. I also think semi-professional websites and blogs with magazine aspirations will continue to blur publishing boundaries and challenge our concepts of ‘story’, in whatever length, and format, they are told.

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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:

 

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Snapshot 2012: Louise Cusack

australian speculative fiction snapshot 2012 logoLOUISE Cusack is an international-award winning fantasy author whose best-selling Shadow Through Time trilogy with Simon & Schuster was selected by the Doubleday Book Club as their ‘Editors Choice’. This trilogy was released as e-books in February by Pan Macmillan’s digital imprint Momentum Books. Louise has been a Writer in Residence at the Queensland Writers Centre, and a key regional tutor. She also mentors other writers through her manuscript development business and conducts writing workshops, residencies and retreats with adults writers and in schools. louisecusack.wordpress.com


Your Shadows Through Time fantasy trilogy has been re-released in e-format by Momentum. What have you been doing to add some puff to this second wind?
In the lead-up to the re-release I created a new website which I linked to Facebook, Twitter and Goodreads. My friend Lisa at Twine Marketing helped me organise my ideas into practical steps that would promote the books while at the same time engaging with other writers and readers to build my brand (I know that sounds pretentious but I’m starting to see what she means!). When you break it down into steps it’s actually fun and easy and I love the immediacy of Twitter and the feedback comments on blogs.


How has your move to the picturesque cane coast of Queensland impacted on your writing?
For a start, my productivity doubled! I think that’s a combination of not being distracted by writerly things in Brisbane, and not visiting family and friends as much as I had been. Once I arrived here, I was spending long stretches just pouring out drafts and I upped my output from 5000 good words a week to 10,000, which is pretty awesome when it’s rolling out like that. I also think the change of scenery has helped. Being near the southern tip of the Great Barrier Reef is amazing. My tiny town is surrounded by fields of sugarcane, sweet potato, melons and strawberries that are always growing, being harvested or ploughed, which means I never have the same drive through it twice. Even my afternoon ambles along the esplanade are different depending on the tide time, the wind, the cloud cover. So much of Brisbane was the same day after day. I find the constantly changing environment here is really stimulating my creativity. As a fantasy author that’s gold.


What lessons or themes have you brought to your fantasy fiction from your early days in Romance?
I’ve always loved a good love story, so no matter what genre I write in I’ll always want to incorporate attraction, rejection, desire and love/hate in the stories. I’m also drawn to the theme of ‘stranger in a strange land’ which lends itself to fantasy and lost world stories, but that theme was also revealing itself early in my fledgling romance writing when I had an city animal rights activist turning up at a country rodeo for example. I like the clash of cultures, of landscapes, of characters feeling like they don’t belong, and then realising that they do. I think I had all these ideas before I even started writing romance, but what romance writing did teach me was to hold the thread. Once the hero and heroine met you were never allowed to sever the thread of their attraction to each other, and while that’s less important in novels where there’s a whole lot more going on than just the love story, it taught me to hold each thread and not break it: the thread of romance, the thread of political intrigue, the thread of physical/emotional/supernatural attack for instance. Every plot has its own threads that need to be maintained, and romance writing taught me not to break them — fabulous lessons in structure for a beginning writer.


What Australian works have you loved recently?
I’ve just finished Jessica Shirvington’s Embrace which I adored. I’m a pushover for a good love triangle, but Jessica has done so much more with hers than the usual YA fantasy, and her bad-boy angel Phoenix is seriously hot! I can’t wait to read other novels in the series.


What have been some of the biggest changes in Australian speculative fiction in the past two years since Aussiecon 4?
I can only speak for my own experience, both as a reader and a writer, to say that the price and availability of e-readers has changed my world profoundly. I bought a Kindle a year ago and since then have read more fiction in a year (both spec fic and other genres) than I had in the five years preceding it. I’ve read best-sellers, cheap and free self-published books, as well as novellas and short stories (which I never normally bought) and more ‘sample’ opening chapters of novels than I can readily remember. It’s a whole new way to select what you read, and being able to sample the openings of novels before I buy has sharpened my personal eye for what I like instead of just being drawn in by a book cover or a recommendation or review.

This year I had a previously print-published fantasy trilogy released as e-books and I’m hearing that people who would never normally buy fantasy novels have sampled the opening of my first novel and bought it because the characters appealed to them. So I think that people buying e-books are going to be reading across genres more than they had, and also now that writers can self-publish, the power to decide what sells is largely back in the hands of readers rather than being solely at the discretion of publishing house editors. I see that some writers are self-publishing e-books without editing them properly, but a proportion of readers are fine with that so long as they love the story. It’s all about options, really, and the rise of e-books has increased options for writers and readers. That has to be good.

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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:

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Snapshot 2012: Glenda Larke

australian speculative fiction snapshot 2012 logoGLENDA Larke is an Australian who has spent most of her adult life abroad, living in Malaysia (including Borneo), Austria and Tunisia, yet still feels herself to be 100 per cent Australian. She has worked as an English teacher and as a conservationist, specifically tropical bird conservation, on jobs that have taken her from peat swamps and tropical islands, to logging camps and fishing villages. Her 10 published novels, including three trilogies (Isles of Glory, Mirage Makers and the latest, Watergivers) have been published in six different countries, and she has had books short-listed seven times for the Aurealis Best Fantasy of the Year. She is now working on another trilogy set in a fantasy version of the 17th European century spice trade to Indonesia, involving buccaneers, birds of paradise, witchery, magical daggers — and the morality of colonialism. The first book is called The Lascar’s Dagger.

Find Glenda online at www.glendalarke.com and on her blog, www.glendalarke.blogspot.com.

Your most recent series have been set in arid lands — what’s the attraction for you as a storyteller?
As an Australian, the daughter of a farmer, I know about the preciousness of water. We bathed in untreated water pumped up from the river when I was a kid. Some of my earliest memories are about shortages – the summer a rat drowned in our rainwater tank, for example. Or the night my father walked through the smouldering remains of a bushfire to pump more water from the river so we could fight the fire. They are the stories of my childhood, and they have been reinforced by what is happened in today’s world. Wars are going to be fought over water.

In the 21st century, for the first time in recorded history, the Rio Grande has failed several years to flow out to the ocean. The Marsh Arabs had their livelihood and life styles taken from them because others wanted their water. In Australia we contaminate our underground water with salt water intrusion and endanger it with fracking. Fresh water is the most precious of all the world’s resources and we should treat it as precious.

There are so many water stories out there!

You mention on your blog that publishers are reluctant to buy a series based on a proposal, even from authors with your track record. Is this another sign of the decimation of the midlist we hear about?
It certainly seems to be a widespread complaint among authors that proposals have been a hard sell lately, especially last year. I was astonished by some of the Big Name Authors who have had been unable to sell their next works without a finished book in their hands. I think it stems from publishers being more circumspect about buying on spec while they try to work out where their industry is going. Once they decide what direction their company is taking, and have invested in new methods of distribution and sales, then things will settle down. It won’t be the same industry, but it will be perhaps less volatile and a tad more predictable than it has over the past year or two.

You are a regular visitor to Swancon, in your home state where you’re planning to retire to … soon? What is it about the convention that draws you to make the long flight from Malaysia each year?
Not every year, alas. But that is something I intend to work on once we move to Mandurah, which I hope will be within the next 12 months. Swancon was my very first con. I had no idea what to expect. In fact, I dragged my sister (a school teacher-librarian) along because I was so scared of having no one to talk to! I needn’t have worried, of course. I had a wonderful time, people were so welcoming, and they wanted to talk about all the things I wanted to talk about – it opened my eyes to a community of writers and readers and fans that I’d had no idea was out there anywhere. Every time I go to Swancon, it feels like home.

What Australian works have you loved recently?
Tansy Rayner Roberts’ Creature Court trilogy and Karen Miller’s Blight of Mages. I thought the first two books of Tansy’s were utterly brilliant, worthy of huge international acclaim. I had a few plot issues with the last one that I am dying to chat to Tansy about next time I see her, but that trilogy as a whole is one of the most original and well-written works to come out of Oz fantasy writers since, oh, since The Etched City by KJ Bishop.

Blight of Mages is a tour de force – for a start, it’s a prequel that can be read by people familiar with the series or by those new to her work, and either way it offers a startling read. On one level it’s a brilliant character study of two flawed people and the disaster they create. On another it’s a tragic love story. On another it’s a traditional fantasy with lots of magic and battles on an epic scale. I was surprised it never made the Aurealis shortlist.

What have been some of the biggest changes in Australian speculative fiction in the past two years since Aussiecon 4?
Hard for me to say because, living abroad, I am always so far behind in my reading. If I wasn’t, I’d probably be adding, say, Lanagan, Anderton or Freeman to the list of authors mentioned in the above paragraph…

From a distance, then, I would say it has been the healthy growth and outstanding success of the small press; the international success of Australian podcasts; the success of Australian woman in fantasy, horror and science fiction writing. Generally, Australia appears to produce a huge pool of talent when you consider the small population. What I’d love to see in the next couple of years is some great Australian fantasy from indigenous writers and immigrant writers drawing on their own cultural/ethnic roots.

Taking a broader outlook, I think Australian readers/writers of all kinds have to think very carefully about what kind of reading experience they want in the future. Simply put, if you want bookshops in High Street you have to buy from bookshops in High Street. If we want cheaper books, then we have to rethink how it can be done without bringing Australian publishing to its knees.

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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:

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Snapshot 2012: Adam Browne

australian speculative fiction snapshot 2012 logoADAM Browne lives in Melbourne. He’s published 30 short stories, winning an Aurealis Award for best SF short story in 2002 and the Chronos in 2009. His first novel, Pyrotechnicon: Being the Further Adventures of Cyrano de Bergerac among the States and Empires of the Stars, by Himself (dec’d), is being released by coeur de lion in September this year — look for a launch at Canberra’s Conflux. Adam has also been working on the internal illustrations — one is available for sale as a print at Signed and Numbered, in Prahran. You can also see a few at his blog.


In ‘The End of Roentgen Rays’, the aptly concluding story of your Phantasmagoriana collection, reality unwinds as language collapses, a process begun with the loss of capital letters: is there a line to be drawn, currently perhaps, between the evolution and devolution of language, and should we privileged texters care as long as we can all understand each other’s tweets?
Yeah, that one’s less about the devolution than language than the idea that the world is made of language. Most of us can’t remember anything before we were two or three; it’s because language doesn’t colonise the mind until around then. Language is cloudware – it does a lot of our thinking for us – or, more than that, it does our perceiving for us.

I wrote the story as a lipogram, but was far too easy on myself: the only letter missing is X. In the end, all the letters unknot and fall apart, the story becoming a lipogram with the entire alphabet missing…

I was looking at the lipogrammatic novel A Void the other day, and suddenly realised it’s a double achievement – not only that it was written, but that it was translated from the French while also avoiding the letter E…

Your short stories often offer a blend of science, history and the fantastic: is there a particular advantage, say, in discussing certain themes, to this melding that more othordox narratives might not hold for you?
I didn’t start writing historical stuff until a friend, Barry Rome, sent an email with a beautiful little paragraph of what he’d like to see in SF; I can’t remember it very well, except that it was sumptuous, diseased – renaissancepunk – bewigged ancients with intelligent calipers, that sort of thing – transgenic peacocks… I wrote a story about Mozart as a hacker as a result. To be frank, I’ve long been driven by the need to impress. Historical science fiction offered opportunities along that line.

But I sometimes think that what we do is try on affectations to see which ones fit. This one fit me in a deep way. Historical SF dealt with my misgivings about fiction set in the future – the future was over, for me at least – and history provides atmosphere, which is so important in fantastical storytelling. The baroque period suits me best, as it suits my love of crammed, adjectival prose, and I think it feels rather like the present – the heedless headlong nature of it – the horror vacui – decadents dancing on the brink of the abyss.


In your forthcoming novel Pyrotechnicon, Cyrano de Bergerac takes us on space adventures. What made you choose Cyrano for this adventure?
Cyrano wrote two SF novels, Englished and republished as Other Worlds in the 1970s. I had the book for years without being all that interested, but then one day my eye just sort of lit on it – that’s all I remember – that moment I knew it was my novel. I was surprised someone hadn’t thought of it before: the third in the trilogy seemed an obvious project. I have to admit I didn’t start my research into the man himself until a year or so into the process. The most interesting detail for me was that Cyrano was gay – proudly, openly – his Trip to the Moon makes it obvious, for all that I assumed the affection between the male characters was just a French thing, or a 17th century thing. I began to wonder if Edmond Rostand, who wrote the eponymous play, was giving a sly nod to this when Cyrano’s love of Roxane is never consummated.

My Cyrano belongs more to Rostand than history. Manic, swashbuckling, epigrammatic, ingenious, madly inventive, a magnificent outsider. I got the same thrill from writing him as I do writing pirates – he’s at once real and fictional – a picture book character with heft, a commedia dell’arte character with depth. His energy and strength of character served to hold the novel together – he’s ridiculous, but he’s vulnerable and ferocious and engaging…

So to answer your question, I can’t really answer it. I don’t know why I started with him, but I think what I’ve said here goes to show why I stuck with him.

As for Pyrotechnicon: Being a True Account of the Further Adventures of Cyrano de Bergerac, by Himself (dec’d), I’m proud of it. I reckon it’s a goer. It’s a good sign when you read something and it feels like someone else wrote it. Like it’s come from on high, where all good art comes from. Maybe it’ll be for me as it was with Rostand, whose best work was also about Cyrano – he’s our muse, taking us to the peak of our art.


What Australian works have you loved recently?
Recently, I belatedly bought Anna Tambour’s Monterra’s Deliciosa & Other Tales. It’s wonderful, full of wonder. Two stories in particular, ‘Temptation of the Seven Scientists’ and ‘Monterra’s Deliciosa’, gave me a feeling I find hard to describe – an airiness in the frontal lobes, as if the central crevice were opening out. Literally mind expanding, I suppose. I relish her naturalist’s approach to the world, her witty, transparent, rich but economical prose.

After Paul Haines died, I re-read The Last Days of Kali Yuga, and enjoyed it as much as ever — he’s not a horror writer, despite that was how he defined himself; like all of the most worthwhile artists, his writing is its own genre, unique to him alone.

I went through my old David Ireland books this year too. The Flesh Eaters, A Woman of the Future. What a writer. How shameful that he’s been out of print for so long – though I saw recently that someone else felt that lack, and is having them reissued.

I beta-read Lee Battersby‘s novel The Corpse-Rat King too – and I’m realising now that all these authors are the same in that they’re all different – all unique. Like the others, Lee’s writing was ostensibly of a genre I normally avoid, but I persisted, and was glad of it – it’s a romp, it’s grotesque and inventive; it’s peculiarly Battersbyesque…

What have been some of the biggest changes in Australian speculative fiction in the past two years since Aussiecon 4?
The biggest change was Paul Haines’s death. Without being too sentimental or eulogistic, he’d be king of the scene by now; with his Penguin deal, his novelisation of the Wolf Creek prequel, all the rest of it, he’d have been a Proper Writer, object of awe at the conventions. I’d have been jealous of his success, but his largesse was such that he would have shared it around, would have been admonishing me and my more insular contemporaries to keep ourselves out there; he would been sending this or that opportunity our way and encouraging us with his enthusiasm — all that stuff. Ah, he was such a fun guy. I’ll always miss him.

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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:

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Snapshot 2012: Patrick O’Duffy

australian speculative fiction snapshot 2012 logoMELBOURNE-based writer Patrick O’Duffy has been writing since he was a little kid; he’s been writing stuff that’s good enough for others to read for, well, less time than that. He has been a freelance RPG writing for companies such as White Wolf and Green Ronin, where he got to work on the revival of Lynn Abbey’s Thieves’ World setting.

Since moving to Melbourne from Brisbane several years ago, he’s given up game writing and focused more on shorter-form fiction, which he publishes independently as e-books. They include the dark fantasy novella Hotel Flamingo and the horror anthology Godheads, plus his new crime novella The Obituarist. Upcoming work includes another anthology (this time of flash fiction), a sequel to The Obituarist, a YA fantasy novella and a serious literary novel that he’ll be trying to get published through the usual channels.

All this and more can be found at his website, www.patrickoduffy.com, where he also blogs about writing and reading and similar things. Sometimes there are pictures.


Your previous e-books have been genre-blurring horror-tinged tales. What influenced you to head into crime territory with The Obituarist?
I think every story has a core that can be expressed in a number of ways, and that the best way to find the right expression is to start with the core and work outwards to the story, rather than work from the story and try to find its core. So while I’ve done a lot of horror and fantasy writing – and I’m going to do more – I’m always read to follow an idea down a different path.

The Obituarist is a story about the way technology changes the way we live and in doing so changes some of the ways we think about death. You can write a story like that as speculative fiction, certainly, and I think there are some great paths it could take – in fact, some of my earliest thinking on the ‘social media undertaker’ concept was along spec-fic lines. But to write a story about how technology affects us right now, rather than how it might affect us in the future, I had to keep things grounded in the real and the modern day. And if I’m going to do that, well, a crime story lets me have some fun with the concept and include some chase scenes and gruesome deaths. That’s a win in my book.

What’s the most challenging or annoying element to publishing an e-book, and the greatest joy?
The challenging part is the part that comes after publishing – trying to get people to hear about it and to consider reading it. There’s so much out there at the moment and more every day, especially independently published ebooks. Some are very good and a lot more are very bad, but good and bad get just as much attention and seem pretty much the same to buyers. To stand out you need to spend as much or more time promoting your work than writing something new; you have to use word-of-mouth, push books at reviewers, monitor social media for opportunities.

I find that challenging. It turns me from a writer into a publisher, a publicist, a marketer. None of which are roles I particularly want to fill, but the alternative is having my books vanish without trace as soon as they’re released. Which I don’t really want, oddly enough. So I do my best to be honest about what I’m doing, to stop short of spamming people with constant ads for my stuff and to genuinely share the passion I have for writing with others.

As for joy, well, I think a lot of indie authors get great joy from maintaining control over their work, and not having to concede to the demands of publishers or editors. For me, though, it’s the immediacy and the freedom to experiment with extent, form or structure. I like the way that I can take a finished, edited manuscript and have it up on sale 10 minutes later. And, yes, then have to tweak the file to get it right and upload it again, but the principle is sound. I like writing novellas and short fiction and having an avenue to publish them even though they’re difficult to make financially viable in print. There’s room to try things in e-publishing, because even if you won’t make money you also won’t lose very much, and sometimes it’s acceptable to spend a few hundred dollars to do something you believe in.

How has your experience writing role-playing games informed your fiction writing?
Primarily it’s taught me about the importance of positioning the things that matter in a story – whether those are plot elements or core themes – at the centre of the story and making sure that the rest of the material revolves around those points. RPG settings tend to be filled with tiny little bits, like plot hooks and non-player characters and Sudden Looming Dangers. It can be a lot of fun to think up things like that, but it’s easy to make them too self-contained – to come up with, say, some kind of political intrigue that is all about three NPCs, or a terrifying dragon that stays in a cave scheming and never comes out. Things like that are interesting in concept but dead boring in play because they don’t contain a space for the players’ characters to become pivotal parts of the story. World building for its own sake can be fun, but a big part of successful RPG setting design is making sure that everything in that world can matter to the players, even if it doesn’t right away.

To extend that concept over to fiction writing, I always try to identify the important things in a story – the main characters, obviously, but also themes and motifs and the like – and make sure that every event and turn and additional character in the story connects directly to those things. The Obituarist, for instance, is a story about death and identity as well as a crime story. That’s the core – two themes and a set of genre markers. So everything starts from that basis, every scene needs to be relevant to at least part of that core, and everything has to have a hook or angle that directly draws in the main character, social media undertaker Kendall Barber.

That’s not exactly an insight that’s unique to RPGs. But writing those – and running and playing them – is what really drove it home to me.

What Australian works have you loved recently?
Most of the Australian work I like tends to be either literary fiction or crime fiction. I don’t know why that is. Maybe it’s because the Australian voice lends itself well to both introspection on our place in the world and violence without proper thought of consequences. Or maybe it’s because I don’t spend enough time looking at Australian speculative fiction. That’s probably more likely.

In any event, the Australian books I’ve really loved of late include Tom Cho’s Look Who’s Morphing, Nicki Greenberg’s Hamlet, Peter Temple’s The Broken Shore and Truth and Benjamin Law’s The Family Law.


What have been some of the biggest changes in Australian speculative fiction in the past two years since Aussiecon 4?
This is another point where I have to confess ignorance.

Actually, no, wait, there is something I’ve noticed – the degree to which Australian spec-fic is moving online. There are obvious changes like Aurealis becoming an e-book periodical, but I’m also seeing a lot more independent and small e-books coming, such as Alan Baxter’s Darkest Shade of Grey, which The Penny Red Papers published as both a free website and a cheap e-book.

The difficult part sometimes is knowing that these are Australian works, because the internet puts them right alongside American and British works and presents them as equals. Well, in theory. In practice, e-book readers still gravitate to writers they know, and Australian writers have to work hard to gain some visibility from international readers who might then recommend their books to their peers. It’s still not automatic, but it’s easier than it used to be.

And that’s something, right?

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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:

 

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Snapshot 2012: Garth Nix

australian speculative fiction snapshot 2012 logoGARTH Nix has been a full-time writer since 2001. He has worked as a literary agent, marketing consultant, book editor, book publicist, book sales representative, bookseller and as a part-time soldier in the Australian Army Reserve. Garth’s books include the award-winning fantasy novels Sabriel, Lirael and Abhorsen and the science fiction novels Shade’s Children and A Confusion of Princes. His fantasy novels for children include The Ragwitch; the six books of The Seventh Tower sequence; The Keys to the Kingdom series; and the Troubletwisters books (with Sean Williams).

More than five million copies of Garth’s books have been sold around the world. His books have appeared on the bestseller lists of The New York Times, Publishers Weekly, The Guardian and The Australian, and his work has been translated into 40 languages.

Garth also produced the IF Award-winning and ACTAA-nominated short animated film The Missing Key, directed by Jonathan Nix; is a silent partner in the literary agency Curtis Brown (Australia); and is a co-founder of the online games developer Creative Enclave.

He lives in a Sydney beach suburb with his wife and two children. Find him online at www.garthnix.com.



You and Sean Williams looked to be having fun with the whiteboard when it came to plotting out your Troubletwisters series. How did the two of you go about collaborating on that series?
The whiteboard video you can see on YouTube is a kind of condensed version of how it actually works. Basically, we got together at various times to work out the story in considerable detail, building up a chapter outline for the first book, and a backgrounder for the characters, setting and so on. Then I wrote the first chapter, Sean took it away and wrote the first draft of the rest of the book, mostly following the chapter outline but varying where he wanted to or thought it necessary. Then he flicked it back to me, and I revised it, sent it back again and he revised it, and so on for a couple of iterations. We also discussed any major changes as we went along. The end result is that when we look at any given page, neither of us can remember who wrote what, it is a true joint effort. We’ve repeated this basic process in the next two books, including the one that is just out now, Troubletwisters: The Monster.


A Confusion of Princes is based on a computer game and you’ve done a great job of absorbing the game conventions such as respawning into the narrative. What were the challenges of this adaptation, if that’s a fair description of the process?
It would be more accurate to say that the game, Imperial Galaxy, shares a background with the book. I actually had started writing the book first, then when Phil Wallach and I began work on the game, I suggested we use the background of the galactic empire, the three teks and so on, for the game. I had intended to finish the book earlier, but got distracted, so a kind of limited subset of the game came out in a beta version before the book was finished. You can play that game at www.imperialgalaxy.com, but essentially the game is stalled at the moment for lack of funds, and has been frozen for about two years now. We do still hope to return to it at some stage.


You’ve been branching out and drawing on your family’s various skills as well: a very well received short film, self-publishing a collection of Sir Hereward stories, the computer game and the novel, and goodness knows what else. What have been the biggest pleasures you’ve found from exploring these diverse creative worlds?
The film, The Missing Key (trailers at www.themissingkey.com), is very much my brother Jonathan Nix’s work. I co-produced it, but had little creative input, just the business management and so on typical of a producer. It has won a bunch of awards, and I am pleased to be an IF Award-winning and ACTAA-nominated producer, but I can’t take much of the credit.

I self-published Sir Hereward and Mister Fitz: Three Adventures as an experiment to test new digital waters. I like to keep up with and investigate publishing trends and changes were I can. I do like to be involved in various ventures and activities, and I like to use my business mind as well as my fiction-writing faculties.

What Australian works have you loved recently?
I was enthralled by Margo Lanagan‘s Sea Hearts and greatly enjoyed Dave Freer‘s Cuttlefish (not yet released), but in general I haven’t read much Australian (or in fact any) science fiction or fantasy. I’ve been mostly reading non-fiction, particularly history. I was kind of shocked at myself when I realised how little of the Aurealis shortlist I’d read at the awards ceremony last month, so I have picked up a bunch of books and stories to read when I get the chance.

What have been some of the biggest changes in Australian speculative fiction in the past two years since Aussiecon 4?
I’m not sure changes are obvious until much later, perhaps six, seven or even 10 years, when you can look back and point to things that have become significant or made an impact over time. That said, I think in general it is encouraging to see so many people involved in reading and writing speculative fiction, and to see more and more Australian authors getting a foothold in the USA and UK, and in translation.

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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:

 

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Snapshot 2012: Andrew McGahan

australian speculative fiction snapshot 2012 logoANDREW McGahan is one of Australia’s finest and most varied writers. His first novel, Praise, won The Australian/Vogel Literary Award in 1992, and his third, Last Drinks, won a 2001 Ned Kelly award for crime writing. In 2004 his fourth novel, The White Earth, won the Miles Franklin Literary Award, the regional Commonwealth Writers’ Prize, the Age Fiction Book of the Year, and The Courier Mail Book of the Year. His most recent adult novel is Wonders of a Godless World which won the 2009 Aurealis award for science fiction. In 2011 Andrew released the first volume of his young-adult fantasy Ship Kings series, The Coming of the Whirlpool, currently short-listed in the CBCA awards and the Australian Book Industry awards and an Aurealis finalist. The second volume in the series, The Voyage of the Unquiet Ice, will be published in late 2012.

Andrew lives in Melbourne with his partner of many years, Liesje.


Some writers use pen names when they write across disparate genres, but you haven’t. What have been the pros and cons of sticking with the one brand?

I did toy with using a pen name for Ship Kings, and I might indeed have elected to employ one if my previous books had been in a single non-fantasy genre. But as I’ve already strayed a little across the genres with the earlier novels, I didn’t think anyone would be too bothered if I ventured into yet another field under my own name. As for the pros and cons of it -– I’m not sure about either. I’ve never given much thought to myself as a ‘brand’, or better to say, by the time I realised that I should think about it, my brand was already too muddled to save.


What have been some of the biggest pleasures and perils for an avowed landlubber building a nautical fantasy world?

The perils are obvious enough -– that, in my descriptions of sailing, I make a technical error so obvious and outrageous that it snaps the reader out of the story. To that end, I’ve done as much research as I can on the basics of sail, but at the same time I’ve avoided full-on immersion in it, nor have I signed up for duty on a tall ship. Too much reality could actually become self defeating. For of course the Ship Kings series is not set in our world, or upon our oceans -– indeed, the Ship Kings ocean has quite different physical properties — so real sailing is only relevant up to a point. Therefore my premise has been that even though I’ll never fool experienced sailors, if I can reasonably convince fellow landlubbers that I know what I’m talking about, then that’s good enough.

The pleasures are manifold. Precisely because I have so little experience of the sea, it has remained a great unknown for me where imagination can roam as it likes, which no doubt is why I’ve always particularly loved seafaring stories — especially the more fantastic tales of whirlpools and sea monsters and baffling disappearances. The Ship Kings series is a gleeful chance to revisit and enlarge upon all those boyhood adventures I remember reading. I couldn’t be having more fun.


You’ve won an Aurealis award and been short-listed for another, and have some far more presitigious award credits to your name. Without necessarily buying into the recent fracas in your old home state, what have these various levels of accolade meant for you personally and your writing career?

I’ve been very fortunate with awards over the years and I’m always amazed by (and grateful for) the passion for writing that it takes to set up and run such things. The Queensland awards are a case in point. As you know, they’re going ahead anyway in community form –- and the lack of prize money aside (and ignoring the wider politics of their axing, and the whole question of the role of governments in supporting literature) they’ll actually be better awards for it in some ways, because they’ll be a product of ground level enthusiasm, rather than an obligation of government policy.

But to win any award, of course, feels fantastic, for all the obvious reasons –- the validation of your work, the increased sales of the book in question, and not least the raw cash, should prize money be included. There’s no doubt that all of it together gives you confidence to push on with your career, when royalty statements alone might make you question if it’s worth while -– and the bigger the award the better. But strangely it’s some of the smaller awards I’ve won or been shortlisted for that have stuck in my mind the most, because I’ve been aware that they exist only because a tight group of organisers, judges and fans care enough to make them exist. There’s something rather humbling about that.


What Australian works have you loved recently?
Of late, Scot Gardner’s The Dead I Know –- very interesting indeed. And far too belatedly, sadly, I finally cottoned on to Paul Haines, with The Last Days of Kali Yuga collection. Cracking stuff.


What have been some of the biggest changes in Australian speculative fiction in the past two years?
I’m the last person to ask as I’m not very well read in any realm of Australian writing, speculative or otherwise, and I’ve struggled life-long with a deep-seated phobia for group activities such as conferences and literary festivals, so that I rarely meet or talk with other writers, or even readers. Which all means I’m pretty ignorant of trends in the local industry.

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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: